The Origin and The Evolution of The Double Bass

Louisiana State University
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LSU Doctoral Dissertations Graduate School
11-14-2021
The Origin and the Evolution of the Double Bass

Patrick James Lavergne
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THE ORIGIN AND THE EVOLUTION OF THE
DOUBLE BASS
A Dissertation
Submitted to the Graduate Faculty of the

Louisiana State University and
Agricultural and Mechanical College
in partial fulfillment of the
requirements for the degree of
Doctor of Musical Arts
in
The School of Music
by
Patrick James Lavergne
B.M., Louisiana State University, 1980
M.M., Louisiana State University, 1981
M.M., Louisiana State University, 1982
December 2021
ACKNOWLEDGMENTS
I would like to acknowledge Professor Yung-Chiao Wei for being such an outstanding
teacher and advisor. She has taught me so much about playing the Double bass at the highest
level. I would also like to thank my committee members, Dr. Robert W. Peck, Professor Scott
Terrell, and Dr. Kalling Heck.
I also want to acknowledge my parents, Wilson and Alexandria Lavergne, for investing
in music studies for me at an early age.
ii
TABLE OF CONTENTS
ACKNOWLEDGMENTS ............................................................................................................................ ii
LIST OF FIGURES ..................................................................................................................................... iv
ABSTRACT.................................................................................................................................................. v
INTRODUCTION ........................................................................................................................................ 1
CHAPTER 1. THE DOUBLE BASS IN THE 16th CENTURY................................................................... 2
CHAPTER 2. THE DOUBLE BASS IN THE 17th CENTURY................................................................. 10
CHAPTER 6. THE DOUBLE BASS IN THE 21st CENTURY ................................................................. 25
CHAPTER 7. DOUBLE BASS MAKERS AND PLAYERS .................................................................... 28
CHAPTER 8. DOUBLE BASS METHOD BOOKS AND REPERTOIRE ............................................... 34
CONCLUSION ........................................................................................................................................... 46
BIBLIOGRAPHY ....................................................................................................................................... 47
VITA ........................................................................................................................................................... 48
iii
LIST OF FIGURES
1. Drawing of musicians playing viols, German National Museum in Nuremburg, 1518. ............ 3
2. Gasparo da Salo “Ex-Tarisio” Violone, 1580 (picture by Duane Rosengard) .......................... 5
3. Drawing by Jost Amman Drey Geiger, “Regola Rubertina,” 1568 ............................................ 7
4. Drawing of a 16th Century Bow by Raymond Elgar, 1960 ......................................................... 9
5. Drawing of a later 16th Century Bow by Raymond Elgar, 1960................................................. 9
6. Drawing from the “Syntagma Musicum” by Michael Praetorius, 1609 ................................... 12
7. Drawing of Jakob Stainer Tyrolean Viololne, 1648 ................................................................ 14
8. Drawing of a 17th Century German Bow by Raymond Elgar, 1960 ......................................... 15
9. Drawing of a 17th Century French Bow by Raymond Elgar, 1960 ........................................... 15
10. Drawing of the Double bass in Gamba Form by Michel Corrette, (1773) ............................. 17
11. Drawing of the Double bass in Violin Form by Jean LaBorde, 1780 .................................... 18
12. Drawing of an 18th century German bow by Raymond Elgar, 1960 ...................................... 20
13. Drawing of a bow with a wider end near the tip by Raymond Elgar, 1960............................ 20
14. Drawing of a German model bow with an almost straight stick by Raymond Elgar ............. 21
15. Drawing of a French model bow with an almost straight stick by Raymond Elgar ............... 21
16. Drawing of a French model bow with an inward curved stick by Raymond Elgar ................ 23
17. Drawing of the type of French bow Bottesini used by Raymond Elgar ................................. 23
18. Drawing of the type of German bow Koussevitzky used by Raymond Elgar ........................ 24
iv
ABSTRACT
This dissertation will trace the double bass from the 16th century to the 21st century. The
double bass is the largest and lowest pitched member of the string family. The members of the
string family are the violin, viola, cello, and the double bass. The pitch of the double bass sounds
one octave lower than the written pitch. The double bass is sometimes called the contrabass,
string bass, upright bass, or bass fiddle. It is used in different genres of music such as classical,
jazz, blues, bluegrass, country & western, and even rock.
v
INTRODUCTION
The double bass is considered to be the oldest member of the string family. It was
originally used to play the lowest notes as a member of the viol family as seen in some of the
drawings form the 16th century. It was made with six strings and had frets. The tuning of the
strings consisted of both fourths and thirds. Later the double bass was modified and only three
strings were used. The three stings were tuned in fifths to the notes G, D, A, which are the names
of the first three strings of the cello. Later the double bass was made with four strings. The four
strings were tuned in fourths to the notes E, A, D, G. This became the standard tuning method
and is still used. Double basses made with five strings were made to play notes which were lower
than the low E on the four string double bass. The low fifth string is commonly called the C
string. However, the low fifth string is usually tuned to a low B instead of low C.
This document will examine the changes in the development and role of the double bass
from the 16th century to the 21st century. The descriptions of the development of the double bass
will be illustrated through various drawing in the different centuries. The different types of bows,
strings, and material used to make the double bass will be discussed. A list of double bass
makers and players is provided in Chapter 7. A list of double bass method books and repertoire is
provided in chapter 8.
1
CHAPTER 1. THE DOUBLE BASS IN THE 16th CENTURY
The double bass existed in Germany as early as the sixteenth century.1 The role of the
double bass was to double the low notes producing pitches an octave lower. The types of wood
used to make the instruments were walnut and fruit woods.2 The double bass was known under
the names of Grande Viole basse, Contrabasso de Gamba, and Violone. The Contre-basse da
Gamba or Violone, part of the viol family of string instruments, was looked on in the same way
as the current double basses.3 Figure 1 is a drawing of musicians playing viol instruments.
Bowed instruments were in a very primitive form and shape up to the sixteenth century. The
great Italian maker, Gasparo da Salo, was the first to raise the making of bowed instruments from
a rude state to an art. Gasparo da Salo made many grand double basses. These basses were the
stepping stone to Italian violin making. They were in use long before the first era of the violin.
Both the viol family and violin family are bowed string instruments. However, the instruments of
the viol family had fretted fingerboards, sloped shoulders, flat backs, and six or seven strings.
Instruments of the violin family has fretless fingerboard, broad shoulders, round back and four
strings. “The number of basses at that time, compared with the violins, was ten to one, a fact
which goes far to prove that the bass was the principal instrument then, and that the violin, which
we all naturally look upon as the most important of stringed instruments, is only the great
grandchild of the double bass.”4 Gasparo Da Salo was born in 1542 and died in 1609. He was
also known as Gasparo Bertolotti which was his birth name. He changed his last name to Salo
after the name of the town where he lived. He was generally considered to the originator of the
1
Curt Sachs, The History of Musical Instruments (New York: W.W. Norton, 1940), 363.
2
Robert Hadaway, “Another Look at the Viol.” Early Music 6, no. 4 (1978): 533.
3
Raymond Elgar, “Introduction to the Double bass.” London: Raymond Elgar, 1960: 14.
4
A. C. White, “The Double bass.” Proceedings of the Musical Association 13, (1886 - 1887): 100.
2
Figure 1. Drawing of musicians playing viols, German National Museum in Nuremburg, 1518.
3
double bass. He gave it the violin shape and the f soundholes design. The size of his
basses varied from about 5 feet 3 inches to well over full sizes. The larger instruments had a
slower response time and were very difficult to handle.5
Some of his basses have plain heads and others have carved heads as seen in Figure 2 and
Figure 5. The f soundholes are rather large for the entire length. They are usually close to the
outer edges of the bass top. The tone of a Gasparo da Salo double bass is superb. The price of a
Gasparo double bass is very high. There are only a few genuine Gasparo basses still in
existence.6 “Before Gasparo’s time the bass instruments were violones and gambas, with gut
frets of the viol model and having soundholes in the shape of C’s. Gasparo retained the flat back
of the viols, but formed the bend into the neck root.”7 Figure 2 is a picture of a Violone built by
Gasparo da Salo in 1580 which originally had six strings made of sheep guts. The view of the
scroll shows that there were six peg holes on the peg box. Only four are used since it has been
converted into a 4 string instrument. The Contre-basse da Gamba or Violone was use in the first
operas as stated here by Raymond Elgar:
The Violone was one of the string instruments used in the first operas as support
for the general instrumental effect. In a dramatic performance given at the Court of
Florence in 1539 one can already see a Violone is represented.
There were four of them in a fete of the same kind which took place in 1566.
Lastly Claudio Monteverdi, in 1607, used two Contre-basses de Viole in “Orfeo” to
accompany Orpheus.8
The viola da gamba usually had six strings with the two pairs of outer strings tuned in
fourths and the two middle strings tuned in thirds. The viola da gamba was held between the
5
Raymond Elgar, “Looking at the Double bass.” London: Raymond Elgar, 1967: 17-18.
6
Raymond Elgar, “Looking at the Double bass.” London: Raymond Elgar, 1967: 19.
7
Ibid., 18
8
Ibid., 14-15
4
Figure 2. Gasparo da Salo “Ex-Tarisio” Violone, 1580 (picture by Duane Rosengard)
5
knees or calves and was played with a bow held from underneath with the palm of the
right hand facing upward.9
Three other Italian luthiers of notable mention during the 16th century were Andrea
Amati, Girolamo Amati and Nicolo Amati. Andrea worked in Cremona from about 1555 to the
early 1600s. According Raymond Elgar, Andrea Amati made some very fine double basses
which are very rare and valuable. Girolamo Amati, the son of Andrea, worked in Cremona from
1556 to 1630. He made a large number of double basses but the tone was not very powerful and
the instrument had a high arch. Nicolo Amati, the son of Girolamo, worked in Cremona from
1596 to 1684. He was considered to be the best of the Amati family. The double basses Nicolo
Amati made were of the highest quality. The tone of his basses was very rich. One of his double
basses later became known as the Karr-Koussevitzky double bass. Antonio Stradivarius was a
student of Nicolo Amati.10
The double bass originally had three strings. An illustration of this is shown in Figure 3.
In Italy and England the three stings were tuned in fourths to the notes A, D, G. In France the
three strings were tuned in fifths to the notes G, D, A. In Germany they had four strings tuned in
fourths to the notes E, A, D, G. The four strings of the modern day double basses are still tuned
to the notes E, A, D, G. 11
9
Wendy Gillespie, “Bowed Instruments.” In A Performer’s Guide to Renaissance Music, edited by Jeffery
Kite-Powell, 2nd ed., 139–55. Indiana University Press, 2007: 142.
10
11
A. C. White, “The Double bass.” Proceedings of the Musical Association 13, (1886 - 1887): 101.
6
Figure 3. Drawing by Jost Amman Drey Geiger, “Regola Rubertina,” 1568
7
The bow used during the 16th century had a very arched stick which resembled an archery bow as
shown in a drawing by Raymond Elgar in Figure 4.12 The stick of the bow was made of rattan.
Rattan is similar to wicker. Rattan was later replaced with wood. Wood is not as elastic as rattan.
The stick of the European bow was made of wood. Hair from the tail of a horse was tied to the
stick. A small piece of wood was wedged between the stick and the hair at the larger end of the
bow and was wrapped with cloth to hold it in place. Later the wedge was attached to the stick
and was called the nut. The hair was still wrapped around the stick and was held in place by
being squeezed between the nut and the stick.13 A drawing of the latter is shown in Figure 5. The
drawings in Figure 4 and Figure 5 are from the “Introduction to the Double Bass” by Raymond
Elgar. By the end of the 16th century the double bass had several different names.
12
13
Curt Sachs, The History of Musical Instruments (New York: W.W. Norton, 1940): 369.
8
Figure 4. Drawing of a 16th Century Bow by Raymond Elgar, 1960
Figure 5. Drawing of a later 16th Century Bow by Raymond Elgar, 1960
9
Changes in the size and shape of the double bass were made in the 17th century. The
Victoria and Albert Museum in London has a double bass from the 17th century which is eight
feet tall. The double bass of the 17th century German makers resembled the form of the viola da
gamba. It had sloping shoulders, a flat back with a slanted upper part and deep ribs. Sometimes it
had frets. When the fifth string was dropped it kept the tuning E1, A1, D, G. The Italian makers
preferred the violin shape which had more of an arched back.14 An important transitory bass of
the period was a six-string violone tuned to the notes G, C, F, A, d, g. These pitches were an
octave lower than the strings of the lute. 15
Raymond Elgar mentions the following:
Another large Double bass of three strings known as “The Giant” is in the London
Victoria and Albert Museum. It is 8 ft. 6 inches in height by 3 ½ feet wide and was
made in the 17th century. At one time it was the property of Signor Dragonetti, who was
one of the most skilled performers upon the Double bass who has ever lived. It is not
recorded, and very doubtful, that he ever publicly played on this monster. The instrument
has a violin body contour but grossly enlarged, with swelled edges. The maker’s gouge
marks are still visible on the belly.16
The Contre-basse de Viol later became the Contre-bass de Violone. The Contre-bass de Violone
was less advantageous for the player than the Violes. The reason the Contre-bass de Violone was
less advantageous for the player is because the body and the fingerboard was nearly twice as
large and the strings were nearly twice as long and thick.17
In the 17th century the word Violone referred to a large bass viol with a string length of
about 2 feet 7 ½ inches or a larger instrument about 114 centimeters. It was also referred to as
14
Curt Sachs, The History of Musical Instruments (New York: W.W. Norton, 1940): 363.
15
Mary Térey-Smith, Music & Letters 81, no. 2 (2000): 293.
16
17
Ibid., 15.
10
the largest member of the violin family.18 The average modern day double bass string length is 3
feet 6 inches.
Gut strings were still being used. The use of metal-wound strings started around the latter
half of the 17th century. The unwound low strings were thick, stiff, and hard to bow.19
There were two main types of wood used to make the double basses in the 17th century.
Pine was used for the front, also called the belly, the blocks, linings, bars, and soundpost.
Sometimes the bars and soundpost were made of willow. The fingerboard and wooden fittings
were made of ebony. The other parts were made of maple. The quality of the wood was the most
important aspect to produce the best tone.20
Marco Dalla Costa was a famous double bass maker who worked at Treviso from 1640 to
1680. His basses are in the style of the Amati model. Francesco Barbieri was a bass maker who
worked in Mantua from 1659 to 1750. He modeled his basses after the style of Andreas
Guarnerius. His basses were very successful. He also made some in Verona. Alessandro
Gagliano was a famous double bass maker who worked in Naples from 1640 to 1725. His basses
are very rare. Gennaro Gagliano worked in Naples for 1698 to 1770. His basses are very
beautiful in both model and varnish. The varnish is pale brown on a glorious golden yellow.
Michaelangelo Garani worked as a double bass maker in Bologna from 1685 to 1720. He made
basses based on the Stradivari model. They have a brownish-yellow varnish.21
18
Wendy Gillespie, “Bowed Instruments.” In A Performer’s Guide to Renaissance Music, edited by Jeffery
Kite-Powell, 2nd ed., 139–55. Indiana University Press, 2007: 145.
19
Carl Hugo Agren and John Rutledge, “The Sweet Sound of the Viol.” Early Music 8, no. 1 (1980): 73.
20
21
11
Pictures of large string instruments with C shaped soundholes are depicted in Figure 6.
Illustrations from the Syntagma Musicum by Michael Praetorius, 1609. They are of different
sizes but all of them have six strings.
Figure 6. Drawing from the “Syntagma Musicum” by Michael Praetorius, 1609
12
The violone was the main contrabass in the large ensembles with strings. In the first
“Brandenburg Concerto” by Johann Sebastian Bach, the string instruments listed are the
following: Violino I, Violino II, Viola, Violoncello, and Continuo e Violone grosso. Bach used
the violone to double the cello line. The sound produced was an octave lower than that of the
cello.22 Perhaps that’s how the double bass got its name. The drawing in Figure 7 shows a 1648
violone by Jakob Stainer. This drawing is from the Landesmuseum Ferdinandeum in Innsbruck.
It has four strings and a carved scroll.
22
Jon Finson, “TheViolone in Bach’s Brandenburg Concerti” Journal of the International Society of
Bassists vol. X no. 3(1984): 36-38,
13
Figure 7. Drawing of Jakob Stainer Tyrolean Viololne, Landesmuseum Ferdinandeum, 1648
14
The 17th century bows had two different shapes. The drawing of the bow in Figure 8
shows the arch in the stick and the frog of the bow is larger and wider because the German
model bow is held and played with an underhand grip. The bow in Figure 9 is a drawing of a
French model bow which has a smaller frog and is played with an overhand grip. Both of these
drawings are from the “Introduction to the Double Bass” by Raymond Elgar.
Figure 8. Drawing of a 17th Century German Bow by Raymond Elgar, 1960
Figure 9. Drawing of a 17th Century French Bow by Raymond Elgar, 1960
15
The double bass in the 18th century had two primary forms. The illustration in Figure 10
by Michel Corrette shows the double bass in the gamba form. The soundholes are shaped like the
letter C. It has a fretted fingerboard and sloped shoulders. The illustration in Figure 11 by Jean
LaBorde shows the double bass in the violin form.23 The shoulders are broader and the
soundholes are shaped more like the modern day double bass. Both Figure 11 and Figure 12 are
from the “Regola Rubertina” by Sylvestro Ganassi.
23
Jean-Benjamin LaBorde, Essai sur la musique ancienne et modern (Paris 1780), 245.
16
Figure 10. Drawing of the Double bass in Gamba Form by Michel Corrette, 1773
17
Figure 11. Drawing of the Double bass in Violin Form by Jean LaBorde, 1780
18
The role of the double bass became more independent in the 18th century. The double
bass was used to play solos. Domenico Dragonetti was the first to be recognized as a virtuoso
solo double bass player. A double bass made by Gasparo da Salo called “The Tarisio” was given
to Dragonetti by the monks of the monastery of St. Mark’s Basilica, Venice. It was originally
built as a six-string bass. It was later converted to a three-string bass. The three strings were
tuned to the notes A, D, G.24 Dragonetti was also a composer and conductor. Dragonetti
composed 7 Concertos for the Double bass:
Double bass Concerto in A major

Double bass Concerto in G major
Double bass Concerto No.1 in G major
Double bass Concerto No.2 in D major
Most of the strings used for the double bass in the 18th century was still made of sheep
guts. The guts were put into a bucket of water as they were taken out of the animal’s body. Then
they were cleaned by pulling one end of each gut with one hand and squeezing it strongly with
the other hand as it slid between the thumb and index finger. That process was repeated twice in
the same day. They would stir the guts in the water to wash them. The guts were then placed in
fresh spring water and soaked for two or three days, depending on the weather. Each day they
were scraped twice and the water was changed three times. The guts were put in a lye solution
mixed with water. The lye solution aided in the removal of the fat from the guts. The fat was
removed very carefully from each gut so it didn’t get damaged. After the cleaning and removal
24
19
of the fat the guts were then twisted on a spinning wheel. The big guts were used to make big
strings. The smaller and clearer guts were used to make smaller strings.25
The bow used in the early part of the 18th century still had an arched stick but less than
those of the previous centuries as shown in Figure 12. The bow in Figure 13 has the stick near
the tip being further from the hair than the stick near the frog end of the bow. Those bows were
called the Dragonetti bows. Both of these drawings are from the “Introduction to the Double
Bass” by Raymond Elgar.
Figure 12. Drawing of an 18th century German bow by Raymond Elgar, 1960
Figure 13. Drawing of a bow with a wider end near the tip by Raymond Elgar, 1960
25
Stephen Bonta, "The Making of Gut Strings in 18th-Century Paris." The Galpin Society Journal 52 (1999): 379.
20
In the latter part of the 18th century, the stick of the bow was made almost straight. Figure
14 is a drawing of a German model bow with the stick almost straight. Figure 15 is a drawing of
a French model bow with the stick almost straight. Both of these drawings are from the
“Introduction to the Double Bass” by Raymond Elgar.
Figure 14. Drawing of a German model bow with an almost straight stick by Raymond Elgar
Figure 15. Drawing of a French model bow with an almost straight stick by Raymond Elgar
21
The pitch range of notes played on the double bass was increased in the 19th century.
Composers wrote notes with pitches lower than the normal range of the four-string double bass.
Some of the bass were made with five strings with the fifth string tuned to a low C. Other basses
were modified by adding a mechanical extension that lowered the pitch of the fourth string from
E down to a low C.
Giovanni Bottesini was an Italian virtuoso double bass player, composer, conductor, and
music teacher. He is the most recognized virtuoso solo double bass player of the 19th century.
Like Dragonetti, Bottesini preferred the three string double bass.26 His double bass was made by
Carlo Antonio Testore in 1716 and is currently owned by Hiroyuki Tokukata in Japan.
Bottesini preferred the French model bow which is held and played with an overhand
grip. Figure 16 is a drawing of a French model bow with an inward curved stick. Figure 17 is a
drawing of the French model bow used by Bottesini.27 Both of these drawings are from the
“Introduction to the Double Bass” by Raymond Elgar.
Another notable virtuoso double bass player of the 19th century is the Austrian-born
Franz Simandl. He is mostly remembered for his double bass method books and system of
positions which is still in use and popular. Simandl’s method books will be discussed more in
detail in chapter 8.
The following is a list of classical double bass players of historic importance:
Serge Koussevitzky (1874-1951) virtuoso, composer, and conductor

Edouard Nanny (1872-1943) virtuoso and composer
Franz Simandl (1840-1912) virtuoso and composer
Giovanni Bottesini (1821-1889) virtuoso, composer, and conductor
Domenico Dragonetti (1763-1846) virtuoso, composer, and conductor
26
F. A. Echlin, “The Double bass: Its Music and Players.” The Musical Times 81, no. 1169 (1940): 302.
27
22
Figure 16. Drawing of a French model bow with an inward curved stick by Raymond Elgar
Figure 17. Drawing of the type of French bow Bottesini used by Raymond Elgar
23
Serge Koussevitzky was the most recognized Russian virtuoso solo double bass player in
the 20th century. His double bass was made by Nicolo Amati in 1611. He was also a composer
and conductor. He was the music director of the Boston Symphony Orchestra from 1924 until
1949. His double bass was given to Gary Karr, the 20th/21st century double bass virtuoso, by
Koussevitzky’s wife after his death.
Koussevitzky preferred the German model bow. Figure 18 is a drawing of a German
model bow with an inward curved stick from the “Introduction to the Double Bass” by Raymond
Elgar. This is the type of bow used by Koussevitzky. Unlike Dragonetti and Bottesini,
Koussevitzky preferred the four-string double bass, tuned to the notes F#, B, E, A.28
Gut strings were still being made but the use of steel and nylon was becoming more
popular. The sound of the steel strings is much more powerful than that of the gut and nylon
strings.
The bows were usually haired with black horsehair because it is stronger and has more
bite than the white hair. Some bass players prefer the bow with white hair.29
Figure 18. Drawing of the type of German bow Koussevitzky used by Raymond Elgar
28
Raymond Elgar, “More about the Double bass.” London: Raymond Elgar, 1963: 129.
29
24
CHAPTER 6. THE DOUBLE BASS IN THE 21st CENTURY
Gary Karr was the most recognized virtuoso solo double bass player in the 21th century
until he retired. He played on the Amati double bass given to him by Serge Koussevitzky’s wife
after his death. It became known as the Karr-Koussevitzky double bass. After Gary Karr retired,
he donated his Karr-Koussevitzky double bass to the International Society of Bassists (ISB),
which he founded in 1967, so it can be loaned out to different Universities for educational
purposes. There are several current virtuoso solo double bass players. Two of my favorites are
Yung-Chiao Wei and Edgar Meyer.
Other notable virtuoso double bass players are:
James Vandemark
Jeff Bradetich
Barry Green
Bertram Turetzky
Milton Masciadri
Francois Rabbath
Franco Petracchi
Eugene Levinson
Mark Dresser
Lawrence Wolfe
Linda McKnight
Peter Dominguez
Jeffrey Turner
Derek Weller
Frederick Zimmermann
Oscar Zimmerman
Edwin Barker
Bruce Bransby
Maximilian Dimoff
Timothy Cobb
David Currie
Diana Gannette
John Geggie
Larry Gray
Larry Hurst
Mark Morton
Albert Laszio
Salvatore Macchia
25
Jeremay McCoy
Homer Mensch
Orin O’Brien
Donald Palma
Scott Pingel
Frank Proto
Joel Quarrington
Hal Robinson
Karl Seigfried
Peter Seymour
Dennis Trembly
The double basses in the 21st century are usually made with a spruce top with maple
wood used for the back, neck, and ribs. The fingerboard and tailpiece is made with ebony. There
are many luthiers that makes great modern double basses that are easy to play. They are made in
different sizes with an affordable price.
The strings usually have cores of steel or nylon. Gut strings are still available but are
rarely used anymore. The length of the strings on most double basses is 42 inches.30
30
Raymond Elgar, “More about the Double bass.” London: Raymond Elgar, 1963: 131.
26
The parts of the double bass:
1. Scroll
2. Peg
3. Peg box
4. Nut
5. Fingerboard
6. Neck
7. Top
8. Ribs
9. F hole
10. Bridge
11. Sound post
12. Tailpiece
13. Saddle
14. Tail gut
15. End pin
The parts of the bow:
1. Tip
2. Bow stick
3. Bow hair
4. Winding
5. Ferrule
6. Frog
7. Tension screw
27
CHAPTER 7. DOUBLE BASS MAKERS AND PLAYERS
ITALIAN DOUBLE BASS MAKERS:
Guiseppe Battista Abbati. Worked from 1770 to 1794 at Modena. Good craftsman copying
the Cassini school. He usually used plain wood with brown varnish. His double basses
were successful and have a good sound.
Sebastian Albanesi. Worked at Cremonaro from 1720 to 1744. He was a pupil of Carlo Bergonzi
and he copied his work. His double basses are quite good.
Nicola Albani. Worked in Milan and Mantua from about 1755 to 1770. He was a good double
bass maker.
Matthias Albani. Worked at Bolzano and Rome from 1650 to 1715. His double basses are rare
and of the Stainer school. The quality of wood and workmanship varied.
Paolo Albani. Worked at Palermo from 1635 to 1680. He was a student of Amati. His double
basses are of fine workmanship of the Cremonese school.
Ferdinando Alberti. Worked in Milan from 1735 to 1770. He worked in the Via Larga under the
sign of the ‘Crown”, which was the center for Luthiers in Milan. His double basses are
very successful.
Andrea Amati. Worked at Cremona from about 1555 to the early 1600s. He made some very fine
double basses which are extremely rare and valuable.
Girolamo Amati. Worked at Cremona from 1556 to 1630. He made a large number of double
basses. The tone not very powerful. His double basses are highly arched.
Nicolo Amati. Worked at Cremona from 1596 to 1684. The best of the Amati family.
Stradivariys was his student. The beauty of the plates, great workmanship and varnish are
of the highest quality. The tone is great and has a great sonority.
Gaetano Antoniazzi. Worked mainly at Milan around middle 1800s. A good workman. His
double basses usually had a dark varnish.
Lorenzo Arcangioli. Worked in Florence for 1825 to 1849. He made some good double basses.
Carlo Guiseppi Arienti. Worked at Milan for 1810 to 1863. He was a fairly prolific double bass
maker.
Luigi Baioni. Worked at Milan from 1838 to 1896. His double bass was well made and of small
dimensions.
28
Guiseppe Baldentoni. Worked at Ancona for 1794 to 1873. He was a very good double bass
maker. Some of his double basses were made without the center rib cavities being a full
C shape. This is known as the ‘guitar’ model. The varnish is either brown or red and
always of a fine quality. He is said to be the first Italian to cover double bass strings with
copper wire.
Tommaso Balestrieri. Worked in Cremona from 1720 to 1750 and Mantua from 1750 to 1788.
His double basses are well mode and have a fine sound.
Venerio Baracchi. Worked at Modena from 1826 to 1916. He specialized in double bass making
and his instruments are well made.
Francesco Barbieri. Worked at Mantua from 1659 to 1750. His double basses are quite
successful.
Giovanni Bellosio. Worked in Venice around 1735. He copied the Montagnana double bass
model.
Guiseppe Benedetti. Worked at Placenza in the early 1700’s.
Benettini. Work at Milan in the second half of the 19th century. His double basses are extremely
well made. The varnish is red-brown.
Paolo Benvenuti. Worked in Pisa in the 18th century. His double basses are not considered
successful.
Michaelangelo Bergonzi. Worked at Cremona from 1715 to 1765. He was a dedicated maker of
double basses. His double basses have an unbeaten sonority.
Fausto Mario Bertucci. A 20th century double bass maker who work in Rome. His double basses
are well make and has external linings.
Giovanni Battista Betti. A 19th century double bass maker who worked at Sarzanna. He made
good double basses.
Guiseppe Boccaccini. Worked at Pistoja from 1836 to 1889. He was a double bass player and
also made good basses. Most of his double basses were made without the C cavities. The
varnish is a transparent yellow-gold color.
Andrea Borelli. Worked at Parma from 1720 to 1746. He only made a few double basses. They
were made in the style of Guadagnini.
Antonio Botti. Worked at Sassulol in the 19th century. He specialized in making double basses
that were very successful.
29
Guiseppe Bracci. Worked at Florence in the first half of the 19th century. His double basses are
slightly on the small side. He used a medium brown oil varnish.
Antonio Braglia. Worked at Modena from 1790 to 1820. His double basses are excellent. He was
also a good bow maker.
Geminiano Braidi. Worked at Modena from 1792 to 1822. He made excellent double basses.
Domenico Busan. Worked at Vicenza and also Venice from 1740 to 1780. His double basses are
well made with a modelled back and has an excellent tone. The varnish is usually good
red oil.
Camillo Camilli. Worked at Mantua from 1714 to about 1760. He was a student of Stradivarius.
Not all of his double basses are of the Stradivarius model. He used good quality wood
and varnish of a yellow shade. The tone is excellent.
Fausto Casalini. Worked at Faenza in the early 20th century. He was a fine maker who only made
double basses with four or five strings. Some of his double basses have carved animal
heads. The tone is not always good.
Cosimo Casiglia, Worked at Palermo after1830. He made excellent double basses.
Giovanni Petro Caspa. Worked at Venice after 1650. He is sometimes referred to as Caspani.
His double basses are usually on the large side, 46 inches’ top plate length. Good work
and tone.
Antonio Cassini. Worked at Modena from 1630 to 1710. Made double basses on the models of
Ruggieri and Grancino. His double basses have a good tone.
Bartolomeo Castellani. Worked at Florence from 1770 to 1830. His double basses are slightly
small in size and have a good sound. The varnish has a golden yellow shade.
Castro. Worked in Venice from 1680 to 1720. His double basses are in the style of Stradivarius
and they have a good sound.
Luigi Cavallini. Worked at Arezzo from 1831 to 1903. His double basses are quite good but his
son Oreste was a better maker.
Oreste Cavallini. Worked in Arezzo from 18680to 1938. He was a fairly prolific maker of double
basses and was also a skilled repairer.
Enrico Ceruti. Worked from about 1825 to 1881. He made good double basses. The varnish is an
opaque orange-red.
30
Giovanni Battista Ceruti. Worked at Cremona from 1755 to 1817. His double basses are usually
on the large side. The varnish is red. His double basses are flat backed and have a black
strip at the center join running the full length of the back. They are splendid sounding
double basses.
Luigi Chiericato. Worked at Venice after 1880. He was a double bass player and an excellent
workman. His double basses have a fine tone. The varnish is dark brown.
Antonio De Chisolis. Worked at Roverto in the 18th century. His double basses are well made
and have a warm brown varnish.
Antonio Compostano. Worked in Milan in the late 17th and early 18th centuries. His double
basses are in the style of Grancino. The varnish is brown on yellow base.
Bartolomeo Chistofori. Worked at Florence from about 1710 to 1731. His double basses vary in
model and dimensions. His five-string double bass at Florence stands almost 7 feet high.
The belly length is 49¼ inches. The wood was well chosen and has an unusual dovetail
joint at the bend of the back. The varnish is brown oil.
Guiseppe Dall’Aglio (1st). Worked at Mantua from 1723 to 1775. His basses have a dark red
varnish.
Guiseppe Dall’Aglio (2nd). Worked at Mantua from 1795 to 1840. His double basses were built
in the style of Guarneri. The varnish is red and thickly laid on.
Marco Dalla Costa. Worked at Treviso from 1640 to 1680 and at Pietro from 1700 to 1768. His
double basses are of the Amati model. 31
FRENCH DOUBLE BASS MAKERS:
Paul Bailly. Worked in France, America, Belgium and England. His double basses are not so
plentiful. He applied a black solution to the wood to make grain fiber more pronounced
before applying a brown varnish.
Pierre Claudot. Worked at Marseille in the 20th century. He made some double basses but he
specialized in repairing double basses.
Rene Cune. Specialized in making double basses in the 20th century. His best quality basses have
a belly length of 113 cm and his second quality double basses have a belly length of 110
cm. They were made like the pear model with sloping shoulders.
Marcel Deloget. Worked at Versailles in the 20th century and was so busy with repairs that he
only made a few double basses.
31
31
Paul Hilaire. 20th century double bass maker who worked in Mirecourt. He was very esteemed all
over France for his good work as a double bass maker and repairer. He made about 16
double basses every year.32
Jean Baptiste Vuillaume. Worked in Paris in the 19th century. He made excellent double basses,
usually like the Stradivari model. The wood was well chosen. He invented the Octobass.
ENGLISH DOUBLE BASS MAKERS:
William Baker. Worked at Brighton in the 19th century. He made about 18 highly esteemed
double basses. The wood was well chosen.
James Brown. Worked at Huddersfield around the middle of the 19th century. He made full size
double basses which has a 47¾ belly length.33
GERMAN BASS MAKERS:
Hermann Pollmann. Hand made very good quality four-string and five-string double basses from
around 1890.
Joseph Rieger. Worked at Mittenwald from the end of the 18th century to the early 19th century.
He made full size double basses with carved heads.
Joseph Rubner. Worked at Markneukirchin from the late 19th century to the early 20th century.
He made four and five-string double basses from good selected wood. They were made
of the violin model.34
AMERICAN BASS MAKERS:
Abraham Prescott. Worked from the end of the 18th and the beginning of the 19th centuries. He is
considered to be the first American double bass maker. Most of his double basses are full
size, with the exception of a few smaller chamber basses. They have a flat back and short
soundholes located rather high. The sound is very good.
Paul Toenniges. A 20th century double bass maker in Los Angeles who made good violin model
basses. The f soundholes are wide at the center nicks.35
Aaron Reiley. A 21st century Luthier at the Guarneri House in Grand Rapids. He’s a double bass
and C string extension maker. His double basses have a rich sound for orchestral playing
and a very loud and articulate sound for playing jazz. He also does double bass repairs
and restoration.36 Double basses are made in 1/4, 1/2, 3/4, 7/8, and 4/4 sizes.
32
33
Ibid., 35-36.
34
Ibid., 41.
35
Ibid., 42-43.
36
Aaron Reiley, “Guarneri House”, Guarnirehouse.com, https://www.guarnerihouse.com.
32
FAMOUS DOUBLE BASS PLAYERS:
Yung-chiao Wei. Taiwanese-American bassist Yung-chiao Wei is a virtuoso bassist and

accomplished pianist. She has transcribed and recorded challenging master works such as
the Elgar Cello Concerto, Butterfly Lovers Violin Concerto and two Brahms Cello
Sonatas. She is the first female bassist to perform a solo recital in the Carnegie Hall and
has been Professor of Double Bass at LSU since 2000.
James Vandermark. An American double bass virtuoso and professor of double bass at the
Eastman School of Music in Rochester, New York. He has done many commissioned
recordings, master classes, and performances. One of his teachers was Gary Karr.
Jeff Bradetich. An American double bass virtuoso and professor of double bass at the
University of North Texas College of Music. Former Executive Director of the
International Society of Bassists (ISB) from 1982 to 1990. Presented master classes
throughout the world and transcribed over 100 solo pieces.
Gary Karr. An American double bass virtuoso. Founded the International Society of Bassists
(ISB) in 1967. Gary was given Serge Koussevitzky’s double bass by Koussevitzky’s wife
in 1961. It was made by the Amati family. Gary made a career as a solo double bassist
and donated the Karr-Koussevitzky double bass to the ISB in 2002 when he retired.
Barry Green. An American orchestral and solo double bassist. Former Executive Director of
the International Society of Bassists (ISB) from 1975 to 1991. Former principal bassist of
the Cincinnati Symphony Orchestra. Currently teaches at USC in Santa Cruz, California.
Edgar Meyer. An American Bass virtuoso and composer who plays many different styles of
music. Presented a master class and recital at LSU. Has done many commissioned
recordings, master classes, and performances. One of his teachers was Stuart Sankey.
Stuart Sankey. An American Double bass virtuoso who taught at Juilliard and the Aspen Music
Festival. Has done many transcriptions for the double bass. Some of his students
included Yung-chiao Wei, Gary Karr, and Edgar Meyer.
Bertram Turetzky. An American double bass virtuoso soloist and composer. Author of “The
Contemporary Contrabass.” Has recordings of unaccompanied double bass. Former
Professor of Double bass at USC in San Diageo, California.
Francois Rabbath. A French double bass virtuoso and composer. Famous for his double bass
techniques and method book. Rabbath’s method book will be discussed in chapter 8.
Franco Petracchi. An Italian double bass virtuoso, teacher, and author of the “Simplified Higher
Technique” bass method book. Names like diatonic and chromatic are used for positions
in the thumb position.
Eugene Levinson. An Ukrainian Double bass virtuoso and teacher. Former principal bassist for
the New York Philharmonic.
33
CHAPTER 8. DOUBLE BASS METHOD BOOKS AND REPERTOIRE
“New Method for the Double bass” by Franz Simandl.
This method book is the most popular of all the Double bass method books.
Book 1 focuses on the use of the 1st, 2nd, and 4th fingers, whereas the 3rd finger is used
when the 4th finger is used below the thumb position. Each position is in line with the
natural notes on the A string. The position between the natural notes are called
intermediate positions. Book II focuses on the thumb position. The 3rd finger is used
instead of the 4th finger in the thumb position. Book II also focuses on playing harmonic
in the natural harmonic series and artificial harmonics.
“Simplified Higher Technique for the Double bass” by Francesco Petracchi.

This method book has examples of the use of the thumb in both the thumb position and in
the lower positions. The terms diatonic and chromatic are used for positions in the thumb
position.
“The Gary Karr Double bass Book” by Gary Karr.

Gary Karr’s method book has exercises where the thumb is used to play consecutive
whole notes up a 5th then down 5 notes consecutively.
“Techniques for the Contrabass” by Francois Rabbath.

Francois Rabbath’s method book uses the thumb and the 3rd finger in positions lower than
the thumb position. His method divides the double bass fingerboard into 6 large
positions and uses the pivoting technique to play notes in each position without shifting.
“Vade Mecum for the Double bass” by George Vance.

George Vance’s method book has exercises for the left hand alone to help strengthen the
left hand fingers. His method divides the double bass fingerboard into 6 large
positions and starts the student playing in the 3rd position which is at the neck block.
“Complete Method for Double bass” by Giovanni Bottesini.

Bottesini played a three-string double bass. The lowest note written for the
exercises in his method book is A. His method book is divided into two parts. The first
part pertains to the double bass in the orchestra. The second part pertains to the double
bass as a solo instrument.
“Scale System for Double bass” by Carl Flesch.

This method book focuses on scales, arpeggios and double-stops in one, two, and three
octave combinations.
“Sevcik School of Bowing Technique.”

The Sevcik bowing book presents various bow strokes and techniques in a logical and
organized fashion and is one of the quickest way to advance the right hand.
“Contemporary Concept of Bowing Technique” by Zimmerman

This book is an in-depth analysis on how the bow works in various types of strokes.
34
Other double bass method books that are great for young grade school level players are:
Strictly Strings
Essential Elements for Strings
All for Strings
String Builder
The following is a list of popular solo double bass repertoire:
Double Bass Concerto in A major by Domenico Dragonetti

Double Bass Concerto No. 2 in B minor by Giovanni Bottesini
Double Bass Concerto in E minor by Serge Koussevitzky
Double Bass Concerto by Johann Baptist Vanhal
Arpeggione Sonata by Franz Schubert
Moses Fantasy by Niccolò Paganini
Sonata in G minor by Henry Eccles
Elegy by Gabriel Faure
Sonata in F major by Benedetto Marcello
Sonata by Paul Hindemith
Concerto in F major by Capuzzi
Ode D’Espagne by Francois Rabbath
Six Sonatas by Marcello
Six Sonatas by Vivaldi
Concerto in E major by Dittersdorf
Capriccio No. 2 by Anderson
Sonata 1963 by Proto
Assorted Solos for the Double Bass Player by Zimmerman
Six cello suites by Johann Sebastian Bach (arranged for double bass)
Violin Partita #3 by Johann Sebastian Bach (arranged for double bass)
Le Grand Tango by Astor Piazzolla (arranged for double bass)
Butterfly Lovers Violin Concerto by Zhanhao He and Gang Chen
Cello Sonata No. 1 and No. 2 by Johannes Brahms
The following is a list of compositions for String Ensembles that includes the double bass:
String Quintet No. 2, Op. 77 in G Major by Antonin Dvorak

Composed in 1875, revised in 1888; 4 movements
Instrumentation: 2 Violins, Viola, Cello, Double bass
Adagio and Fugue in E minor by Cato Cleis

Composed in 2012; 2 sections
Air varie dans le style ancient in F Major by Edouard Broustet

Composed in the Romantic Period; 8 movements/sections
35
Andante agitato by Auguste Ezecchielini
Composed in 2012; 1 repeated section
Andante ma non troppo in E minor by Pyotr Tchaikovsky

Composed in 1863/64
Another Lowered Tone in Eb by Herbert Straus Gardner

Composed in 2016
Antigona by Victor Carbajo

Composed in 1998
Bak to the Future by Herbert Straus Gardner

Composed in 2015
Berceuse in G Major by Sant’Anna Gomes

Composed in the Romantic Period
Blackthorn Medley in D Major by Martin Frewer

Composed in the Modern time Period
Porrapraellinn 1866 in D Major by Martin Frewer

Brasstet by David Toub

Composed in 1997
C Sharp? – Oh, No! by Herbert Straus Gardner

Composed in 2018
Instrumentation: 2 Violins, Viola, Cello, Double bass 4
Canzone del Sonne by Lance M. Hendricvkson

Composed in 2014
36
Charlatan 4 by Mark Ingerman
Concertstuk voor strijkers No.1 1973 by Willy Ostijn

Composed in 1973
Cradle Song by Michael Hasshill

Composed in 2012
D Major Goes Downstairs by Herbert Straus Gardner

Composed in 2017
Dachs-Studie by Hans Rott

Composed in 1877
Dances from ‘The Harlot’s House’ by Elaine Fine

Composed in 2008
Dona Nobis Pacem by Julian Tuan Anh Nguyen

Downward Spiral by Sabrina Pena Young

Dudu gallop by Sant’Anna

Composed in 1892
Eine kleine Nachtmusik, K.525 by Wolfgang Amadeus Mozart

Composed in 1787
Elegie and Serenade, Op. 9 by Gustav Strube

First Publication: 1902 (Funeral music)
37
Esmeralda by Lia Rudeen
Composed in 2017
Esquisse for String Quintet by Cato Cleis

Composed in 2012
Fantasia for string choir by Willy Ostijn

Composed in 1955
Flonzaley Favorite Encores by Alfred Pochon

First Publication: 1920-28
Frederiquinho by Sant’Anna Gomes

Gilsbakkapula by Martin Frewer

Herz an Herz by Carl J. Latann

Composed in 1860
Impromptu in B-flat minor by Aaron Alexander Cotton

Composed in 2012
In memoriam, Op.1 No.9 by I Eon Byun

Composed in 2018
Intermede-pizzicato by Louis Laporte

Composed in 1892
Intermezzo by Alba Rosa

Composed in 1952
38
Invenzione a 4 voci per archi by Luigi Rago
Composed in 2014
The Itsy Bitsy Spider 6/8 by Herbert Straus Gardner

Composed in 2017 (For young string students)
Jubilus Quintett by Kristof J. Weber

Composed in 2012
Keep Ninth Trimtab to Peace by Yasunori Kanazawa

Composed in 2015
Magnus raular by Martin Frewer

Composed in 2019
A Major Goes Low by Herbert Straus Gardner

Composed in 2018
MiniBajka by Maciej Zotnowski

Composed in 2011
Minuet in A major, Op.43 No.3 by Aleksandr Nikolsky

Composed in 1920
Minueto by Sant’Anna Gomes

Composed in 1910
Mouse Time, 6/8 meter by Herbert Straus Gardner

Composed in 2017
Der Mutter Wiegenlied, Op.254 by Adolf Reckzeh

First Publication: 1885 by Bremen Fischer
39
Nene by Sant’Anna Gomes
Composed in 1894
O Hanukkah by Herbert Straus

Composed in 2019
Oseh Shalom by Herbhert Straus Gardner

Composed in 2015
Pavane by Alfredo D’Ambrosio

Published in 1901 by Paul Decourcelle
Prelude on Jam Lucis Orto Sidere by James C. Burke

Composed in 2009
Preludio, Intermezzo e Fuga by Ernesto Bertini

4 Processions, Op.12 by Mark Alburger

Composed in 1978
Les quatre saisions by Felicien David

First Publication: 1845 by Bureau central de musique
A Quiet Moment by James C. Burke

Composed in 1979
Quintet – Satz by Percy Hilder Miles

Composed in 1902
Recitativo by Alba Rosa Vietor

Composed in 1959
40
Rhapsody On A Palindrome by Robert Moore
Composed in 2018
2 Scottish Dances By Herbert Straus Gardner

Composed in 2017
Serenade, Op.11 by Louis Theodore Gouvy

First Publication: 1852? By Richault
Sofou unga Astin min (Sleep My Young Love) by Martin Frewer

Sonata per Quintetto D’archi, Op.6 by Luca Ricci

Composed in 2017
String Quintet for Monika Lang by Frank Zintl

Composed: 2007 – 2009
String Quintet in C minor Giovanni Bottesini

Composed in 1858
String Quintet in D major by Joseph Eybler

Composed in 1993
String Quintet No. 1 in A major, Op.24 by Pierre Louis Hus-Desforges

Composed in the Classical Period
String Quintet No. 1 in B-flat minor by A. Marando

Composed in 2011
String Quintet No. 1, Op.7 by Ambroise Thomas

Published in 1835 by Richault
41
String Quintet No. 1, Op.17 No.5 by Victor Alberto Alario Del Rio
Composed in 2014
String Quintet No. 1, Op.24 by Casimir Ney

Published in 1847
String Quintet No. 1 by Jordan Murray Holloway

Composed in 2015
String Quintet No.2 in C major, Op.26 by Pierre Louis Hus-Desforges

String Quintet No. 2 in D minor by Domenico Dragonetti

Composed in 1834 or earlier
String Quintet No. 2, Op. 18 No.11 by Victor Alberto Alario Del Rio
Composed in 2014
String Quintet No.2 by Percy Hilder Miles

Composed in 1901
String Quintet No. 3 in E minor, Op. 32 by Pierre Louis Hus-Desforges

String Quintet No. 3, Op.21 by Adolphe Blanc

First Publication: 1857 – Paris: Richault
String Quintet No. 3, Op.22 No.2 by Victor Alberto Alario Del Rio
Composed in 2014
String Quintet No. 4 in D major, Op.33 by Pierre Louis Hus-Desforges

42
String Quintet No. 5 in F major, Op.34 by Pierre Louis Hus-Desforges

String Quintet No. 6 in E-flat major, Op.35 by Pierre Louis Hus-Desforges


First Publication: 1859

First Publication: 1866
String Quintet No. 8 in G minor, Op.46 by Pierre Louis Hus-Desforges

String Quintet No. 10, Op.32 by George Onslow

Composed in 1826
String Quintet No. 10, Op.38 by Nicolaus Albert Schaffner

String Quintet No. 11, Op.33 by George Onslow

First Publication: 1827-28 – Leipzig: Breitkopf und Hartel
String Quintet No. 12, Op. 34 by George Onslow

Composed in 1827
String Quintet No. 13 in C major by Domenico Dragonetti

43
Composed in 1827/8

First Publication: 1833 – Leipzig: F. Kistner
String Quintet, Op. 10 by Matias Jose Arenas

Composed in 2011
String Quintet, Op. 21 by Matias Jose Arenas

Composed in 2016
String Quintet, Op. 26 by Karol de Kontski

Publisher info. Paris: S. Richault (ca. 1856)
String Quintet, Op. 32 by Nicolaus Albert Schaffner

First Publication: 1834 ca. – Paris: Richault



First Publication: 1836 ca. – Paris: Richault
3 String Quintets, G.337-339 (Op. 39) by Luigi Boccherini

Composed in 1787
String Quintet by Gor Hovhannisyan

Composed in 1997-2001
44
Suite No. 1 for String Quintet, Op. 42 by Cyril Plante
Composed in 1999
The Tortured Interval, No. 3! by Herbert Straus Gardner

Composed in 2016
Valse Noble by Vasa Laub

Variations, Op. 4 by Karol Jozef Lipinski

Instrumentation: String quartet: Violin, Viola, Cello, Double bass
Want to be A minor? by Herbert Straus Gardner

Composed in 2018
Widmungs-Romanze by Carl Machts

Nocturne in D major by Theodore Akimenko

Composed in 1910
Instrumentation: Violins, Viola, Cellos, Double bass
Adagio for Strings by Samuel Barber

Composed in 1936
Instrumentation: Violins, Viola, Cellos, Double bass
45
CONCLUSION
The double bass has gone through the evolutionary process with the type of construction,
strings, and bows. We now have a standardized tuning of the strings in fourths. The German bow
is normally held with an under hand grip and the French bow in normally held with an over hand
grip. However, the hand grip can be switched whenever it’s necessary. The four-string double
bass with the C extension is more common and popular than the five-string double bass.
Different tuning methods are used by performers. Double bass players are more advantageous to
explore different kind of tuning when playing solo repertoire. Tuning in fifths, using high C
strings for solo repertoire, Viennese tuning, and tuning the upper three strings up a whole step
and keeping the low E string tuned to E is more common nowadays. There are many more living
composers writing for double bass and many virtuoso bassists transcribing works originally
written for other instruments to solos for the double bass. The double bass has evolved from the
role of doubling the viola da gamba as a member of the viol family to the largest and lowest
pitched instrument of the string family.
46
BIBLIOGRAPHY
Agren, Carl Hugo, and John Rutledge. “The Sweet Sound of the Viol.” Early Music 8, no. 1
(1980).
Bonta, Stephen. “The Making of Gut Strings in 18th-Century Paris.” The Galpin Society Journal 52
(1999).
Echlin, F. A. “The Double bass: Its Music and Players.” The Musical Times 81, no. 1169 (1940).
Elgar, Raymond. “Introduction to the Double bass.” London: Raymond Elgar (1960).
Elgar, Raymond. “More about the Double bass.” London: Raymond Elgar (1963).
Elgar, Raymond. “Looking at the Double bass.” London: Raymond Elgar (1967).
Finson, Jon. “TheViolone in Bach’s Brandenburg Concerti” Journal of the International Society
of Bassists vol. X no. 3 (1984).
Gillespie, Wendy. “Bowed Instruments.” In A Performer’s Guide to Renaissance Music, edited

by Jeffery Kite-Powell, 2nd ed., Indiana University Press (2007).
Hadaway, Robert. “Another Look at the Viol.” Early Music 6, no. 4 (1978).
Jean-Benjamin, LaBorde. Essai sur la musique ancienne et modern (Paris 1780).
Peruffo, Mimmo. “The Mystery of Gut Bass Strings in the Sixteenth and Seventeenth Centuries:
The Role of Loaded-Weighted Gut.” Recercare 5 (1993).
Reiley, Aaron. “Guarneri House”, Guarnirehouse.com, https://www.guarnerihouse.com.
Sachs, Curt. The History of Musical Instruments (New York: W.W. Norton, 1940).
Térey-Smith, Mary. Music & Letters 81, no. 2 (2000).
White, A. C. “The Double bass.” Proceedings of the Musical Association 13, (1886 - 1887).
47
VITA
Patrick James Lavergne, born in Lafayette, Louisiana. Worked as a music instructor for several
years in Louisiana and California after receiving his master’s degrees from Louisiana State
University. Upon completion of his doctorate degree, he will continue to teach at the
Universities.
48

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The Origin and the Evolution of the Double Bass

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in music studies for me at an early age.

LIST OF FIGURES ..................................................................................................................................... iv

CHAPTER 1. THE DOUBLE BASS IN THE 16th CENTURY................................................................... 2

CHAPTER 2. THE DOUBLE BASS IN THE 17th CENTURY................................................................. 10

CHAPTER 3. THE DOUBLE BASS IN THE 18th CENTURY................................................................. 16

CHAPTER 4. THE DOUBLE BASS IN THE 19th CENTURY................................................................. 22

CHAPTER 5. THE DOUBLE BASS IN THE 20th CENTURY................................................................. 24

CHAPTER 6. THE DOUBLE BASS IN THE 21st CENTURY ................................................................. 25

CHAPTER 7. DOUBLE BASS MAKERS AND PLAYERS .................................................................... 28

CHAPTER 8. DOUBLE BASS METHOD BOOKS AND REPERTOIRE ............................................... 34

2. Gasparo da Salo “Ex-Tarisio” Violone, 1580 (picture by Duane Rosengard) .......................... 5

3. Drawing by Jost Amman Drey Geiger, “Regola Rubertina,” 1568 ............................................ 7

4. Drawing of a 16th Century Bow by Raymond Elgar, 1960 ......................................................... 9

5. Drawing of a later 16th Century Bow by Raymond Elgar, 1960................................................. 9

6. Drawing from the “Syntagma Musicum” by Michael Praetorius, 1609 ................................... 12

7. Drawing of Jakob Stainer Tyrolean Viololne, 1648 ................................................................ 14

8. Drawing of a 17th Century German Bow by Raymond Elgar, 1960 ......................................... 15

9. Drawing of a 17th Century French Bow by Raymond Elgar, 1960 ........................................... 15

jazz, blues, bluegrass, country & western, and even rock.

slower response time and were very difficult to handle.5

operas as stated here by Raymond Elgar:

right hand facing upward.9

student of Nicolo Amati.10

Figure 5. Drawing of a later 16th Century Bow by Raymond Elgar, 1960

octave lower than the strings of the lute. 15

Raymond Elgar mentions the following:

important aspect to produce the best tone.20

basses based on the Stradivari model. They have a brownish-yellow varnish.21

sizes but all of them have six strings.

Figure 6. Drawing from the “Syntagma Musicum” by Michael Praetorius, 1609

It has four strings and a carved scroll.

Figure 8. Drawing of a 17th Century German Bow by Raymond Elgar, 1960

Figure 9. Drawing of a 17th Century French Bow by Raymond Elgar, 1960

from the “Regola Rubertina” by Sylvestro Ganassi.

composed 7 Concertos for the Double bass:

Double bass Concerto in A major

Bass” by Raymond Elgar.

“Introduction to the Double Bass” by Raymond Elgar.

“Introduction to the Double Bass” by Raymond Elgar.

The following is a list of classical double bass players of historic importance:

Serge Koussevitzky (1874-1951) virtuoso, composer, and conductor

Koussevitzky’s wife after his death.

Koussevitzky preferred the German model bow. Figure 18 is a drawing of a German

Yung-Chiao Wei and Edgar Meyer.

Other notable virtuoso double bass players are:

different sizes with an affordable price.

The parts of the bow:

Guiseppe Benedetti. Worked at Placenza in the early 1700’s.

Cosimo Casiglia, Worked at Palermo after1830. He made excellent double basses.

FRENCH DOUBLE BASS MAKERS: