Double bass string. Musical instrument of double bass

You can call the basis of the entire orchestra. Having a wide sound range - from low sounds of double bass to high violin notes, - as a result, they are all woven into one. number strings tools In the orchestra, much more than everyone else, and make up about 2/3 from total. An indispensable in this group is double bass. What is this tool and how many strings of double bass, we will tell in this article.

Tool description

Before you figure out how many strings of double bass, we will look at what he represents. The height of the double bass is about 2 meters. It is 3.5 times longer than the length of the violin. It is placed on the floor for a special spire. Because of this height of this tool, it is possible to play on it only standing or sitting on a high chair. As for his form, then, unlike other string instruments, this one has tuned to the neck, which makes it look like an old Viola. The double bass appeared almost 300 years ago and was invented by the Italian Mikolo Tadini.

Sound

Double bass, whose photo you see below, sound - the lowest of all bed tools. Its sound can be described as thick and soft. At the same time, the upper notes create intense and even a slightly sharp sound. The lower the same is tight enough. Double bass is configured by quarts, it differs from the rest of the string tools. The double bass range is huge, due to which it is used in ensembles and orchestras, operations and jazz compositions. This explains the wide popularity of double bass as a musical instrument. These tools are divided into solo, training first class and second-class training. Such a separation depends not on how many strings of the double bass, and on the size of the tool itself. You can also meet five-string tools with a wider range of sound. Here is the answer to main question - How many strings have double bass? There are 4-string tools, there are 5-string double bass.

Tool transport

Since this musical instrument is sufficiently large, then problems may arise with transportation. After all, you will agree, you will not carry it under the arm, and you will not put in the bag. Also, when it is moved, it is necessary to take into account factors such as humidity and temperatures, which can also negatively affect the tool. Therefore, special cases were developed directly for its transportation.

italian. Contrabasso, it. Kontrabass, Franz. contrabasse, eng. Double Bass.

The largest in size (the length is approx. 2 m) and the lowest in the sound of the string jamming musical instrument. The direct predecessor of the double bass was a double bass virgin da Gamba with a building:

appeared in gray. 16th century (First depicted on the picture P. Veronese "Pier in Cana", 1562). All R. 17th century Italian. Master M. Todini, eliminating the 5th (lower) string and frets on this tool on the grief, created a new 4-string tool - C. Creation (sounds octowed below the writing):

For the first time K. was applied in the orchestra in 1701 (by other data, in 1699) comp. J. Aldandini with fasting. His operas "Caesar Alexandria". Then, for a long time, K. was almost not used in the orchestra (the bass voice was performed by cello, along with others. Low-lower tools for tools - 6-string VOLONE or church. Bass). So, for example, in orchestra. I. S. Baha Party K. (marked Violone Grosso) is present only in the "Brandenburg Concert" and Cantate "WAS MIR BEHAGT". The obligatory participant of the K. Orchestra becomes with gray. 18 V. At the same time, the soloists-double bassists appear. Using this tool as solo associated with the occurrence of a new, more sound 3-string K. In France, it was built on the quinta (octowa below the cello, but without the lower string to), in Italy, England in quarts (as well as 4-string K., But without the bottom string of mi). At the beginning of the 19th century. Czech musicians developed new methods of playing to K., which allowed to eat for orchestral and for solo games one 4-string type of tool. To enhance the sound when playing Solo, representatives of the Prague school introduced the so-called "solo system" (for tone above natural).

In 1850 (by other data, in 1848) Franz. Master J. B. Viller built a huge K. (height 4 m), called "OKTOBAS". In the present Time to expand the range and receive additional. The lower sounds (up to C and H) are used either the valve mechanism, the "extension" lower string or 5-string tools. K. in the orchestra and ensemble are especially well used. In solo execution and in the ensemble play it usually standing, in the orchestra - sitting on specials. High chairs or stools. With gray 20 V. K. usually equipped metal strings. For C. wrote J. Gaidn, F. A. Hofmister, I. Schperger, K. Dittersdorf, V. Pikhl, Ya. Vanhal, A. Kaputsi; Sovr. Composers - P. Hindemite, E. Tubin, L. Walzel, X. Henza, S. B. Poddovsky, R. M. Glier, Yu. A. Levitin, A. V. Bogatyrev and others. Chamber Op. With the participation of K. created V. A. Mozart, L. Beethoven, I. Gumbmel, F. Schubert, J. Rossini, M. I. Glinka, S. S. Prokofiev, etc. Among the soloists of double bassists (almost all of them - The authors of the production. for K.) - D. Dragonetti, J. Bottezini (Italy), E. Nanni (France), E. Madensky (Austria), I. Prunner (Romania), Galliniani (Italy), S. A . Kosvitsky (Russia), in the USSR - I. F. Gertovich, R. M. Azarhin et al. Great contribution to the development of pedagogy and methods of playing to K. made J. Bottezini, V. Howuse, I. Grabier, F. Sumandl , F. Cherni, A. Findeazen, E. Nanni, L. Montag, A. A. Milushkin, V. V. Khomenko. The question of the consistent use of the expanded (4- and 5-finger) appliqués was engaged in K. Franke, F. Varek, N. V. Savchenko, V. K. Nadzhelev.

Literature: Double bass. History and technique, M., 1974.

B. V. Dobrochotov

Double bass (from the Italian contrabbasso), string bow tool. The largest and lowest and the lowest sound among modern string tools. The length of the housing is 110-120 cm, the total length of the tool is about 180 cm, the length of the sounding part of the string is about 105 cm.

Combines the features of the tools of violin and veil (lower shoulders, stupid angles, high shells, flat lower deck) families. Double bass is the only broken tool with mechanical rings (invented in the 18th century). Quartet setting: "MI" - "la" counter-stuck - "re" - "salt" of a large octave. The symphony orchestras also include double bass from the lower 5th string ("to" counter-stove) or a special device to reduce the "Mi strings". Range of about 4 octave. It is noted in bass, tenor and violin keys, written by octava above the sound. Two types of beds are used: with a low block (the so-called French; is close to cello) and with a high block (veil type).

The predecessor tool of the double bass, double bass viola (one of its names - VOLONE, Italian Violone) appeared at the turn of the 15-16th century. Double bacasic viols were used in church and secular music (in the Basso Continuo group), included in the orchestra opera House. Up to the 19th century, double-bacasic bow tools existed in a variety of varieties; Over time, their forms, sizes, number of strings, settings changed. An important place in the history of double bass is occupied by the so-called Vienna Pentastrod - a tool with a terrent-quart setting (18th century); For him, J. Gaidn, V. A. Mozart, was composed for him, Y. Vanhal, F. Hofmaisster, Duven Basic Virtuoso I. Schperger (author of 18 concerts), among performers - Y. Kepfer, F. Pikhelberger (Pichelberger). The modern appearance of the double bass acquired in the 19th century. Double bass and double bass veils (later they were often redoned into double bass) built Masters of Italy [A. and N. Amati, Gasparo da Salo, M. Bergonzi, A. Stradivari, K. Tester, representatives of the families of Grangino, Gwarnerty, Rudjierey (Rujerri), Majini, Todini, Galiano], Austria and Germany (Ya. Steiner, A. Pos , J. Collots, I. Stadlman, Masters from the cities of Füssen, Mittenwald, Marknakinahn), France (J. B. Viller, E. O. Bernardel), Belgium, the Netherlands; In Russia, the double bass was made by I. A. Batov, L. Otto, T. F. Podgorny, etc. In the 20-21 centuries, along with manufactory and factory instruments, double bass continue to be created on old models.

The improvement of the double bass and the art of the game on it is mainly due to the development of the symphony orchestra. In the partures of J. Gaidna, V. A. Mozart, L. Van Beethoven there was a practice of duplication by double bass of the game of cello. New artistic and technical capabilities of double bass opened in their symphony and opera works of Berlioz, J. Verdi, R. Wagner, I. Brahms, P. I. Tchaikovsky, K. Saint-Sans, N. A. Rimsky-Korsakov, later - R. Strauss, G. Male, M. Ravel, I. F. Stravinsky, B. Barthok, P. Hindemit, S. S. Prokofiev, D. D. Shostakovich, A. G. Schnitke and other composers. Among the most significant chamber works with the participation of double bass - the piano quintet "Trout" F. Schubert, Septhet "History of the Soldier" I. F. Stravinsky, String Quintet A. Dvorakak, Quintet for Goboy, Clarinet and Three Strings S.S. Prokofiev.

In addition to academic musicThe double bass is widespread in jazz, folk music ensembles of many countries in Europe and America (including in local versions of the instrument), of different types of pop ensembles.

The largest counterbasists of the past are Italian Virtuosa D. Dragonetti (end 18 - 1 half of the 19th century), J. Bottezini. National Schools Games on the Counterbasse developed in the Czech Republic, Austria, Germany (German musician F. Varnak wrote the first book about the double bass, 1909), France, Italy. Domestic double bass art is represented by the names of virtuosos - S. A. Kusvitsky, I. F. Gertovich, R. M. Azarhina, L. G. Andreeva, and others.

Lit.: Elgar R. Introduction to the Double Bass. , 1960; Double bass. History and technique. M., 1974; Meier A. Konzertante Musik Fiir Kontrabass in Wiener Klassik. Münch., 1979; Brun R. Histoire des Contrebasses and Cordes. R., 1982; IDEM. A New History of the Double Bass. Villeneuve d'ASCQ, 2000; Planyavsky A. Geschichte des kontrabasses. Tutzing, 1984; IDEM. The Baroque Double Bass Violone. Lanham; L., 1998; Kontrabass und BassFunktion. Innsbruck, 1986; Rakov L. V. Domestic double bass art of the XX century. M., 1993; He is The history of double bass art. M., 2004; ROIDINGER A. DER KONTRABASS IM JAZZ. W., 1996.

Double bass

History and technique

Associated by managing frames and educational institutions

Ministry of Culture of the USSR

as a tutorial for musical universities

Music Publishing House Moscow 1974

Editor-compiler B.V. Dobrochotov

In creating a training manual "Double Bass. History and methodology "took part:

Azarhin R.M.

Modern solo game on double bass. From the experience of the performer

Dobrochotov B.V.

The emergence and evolution of double bass. Performance, pedagogy, literature: XVIIIXIX centuries. (together with Savchenko N.V.). Soviet counterbasists (together with Savchenko I.V.).

Name pointer

Kusvitsky I.A.

Performance, pedagogy, literature: section O S.A. Kusvitsky

Rakov L.V.

Performance, pedagogy, literature: section on foreign contra bats of the 20th century. Double bass in the modern orchestra and ensemble. Pedagogical work in the class of double bass.

List of works for double bass

Savchenko N.V.

Performance, pedagogy, literature: XVIII-XIX centuries. (together with Dobrochotov B.V.). Soviet counterbasists (together with Dobrochotov B.V.)

Khomenko V.V.

Basics of double bass techniques

The present allowance is devoted to the history and methodology of the game in the double bass, and also contains information about the outstanding contrabasists of the past and modernity.

Intended for teachers, students of musical universities and a wide range

© Music Publishing House, 1974

From the editor

IN our days are bright achievements in the art of the game on double bass, performer and pedagogy are undoubted. Especially annoying that the literature on the double bass is actually absent. Young musicians can only partially familiarize themselves with the history of double bass art when listening to the common course String-bored acts. As for the technique of the game on a double bass, here students are generally devoid of opportunities to compare various pedagogical directions and obtain certain theoretical knowledge.

To replenish this space, the idea of \u200b\u200bcreating a collective history allowance arose

and methods of game on double bass. Most of the authors of the benefit are the counterbasists: N.V. Savchenko, V.V. Khomenko, L.V. Crakov, R.M Azarhin; On the famous musician S.A. Kususvitsky tells his nephew I.A. Kusvitsky.

Among the materials on the history of musical execution at that time there were only

only one work specifically dedicated to this issue is the book of F. Varek "Double Bass", published in 1909.1 Warnake collected a large material on the history of the instrument, led lists of pets of the smallest class of different conservatives and data on some of the double bassists. Especially valuable chapters about the founders of double bass art - Dragonetti and Bottezini. Varnake was a junior contemporary Bottezini, he could hear his game and, in any case, communicated with people closely knew this outstanding contrabacler. As for Dragonetti, only ten years separates the birth of Varnah from the death of this brilliant virtuoso. Traditions about him were still very fresh at the time when Varnake began working on his book.

For sixty years who have passed since the publication of the book, it is largely outdated. In addition, we note that this book, published in Germany, was not translated into Russian and is currently a bibliographic rarity. Separate quotes from the book of Varek are given by us in translations I.F. Gertovich.

Valuable information is also contained in various musical encyclopedias and writings on the history of music, in various "schools of the game of double bass."

Attentive study of the preserved visual material helped in some cases corrected the dates, to this time taken in the instrument, in particular the time of the appearance of double bass veins, as well as clarify the problems of a performer, for example, the principle of setting the right hand S.A. Kususvitsky. In the album of illustrations, some portraits of double bassists are published in this book for the first time.

IN manual two sections: history and technique. The first section of the manual is opened by an essay, in which the history of the emergence and development of double bass and its bow must be traced. Next, the problems of the execution, pedagogy, artistic and literature From the XVIII century to the present day, as well as the activities of the largest masters left a noticeable trace in various areas of disbelief art. The greatest attention It is paid to the founders of the solo double bass game - Dragonetti, Bottezini and an outstanding Russian musician - Kubvitsky.

Special essay, which encloses the historical section of the book, is devoted to the role of double bass in modern symphony orchestra, ensemble, pop and folk orchestras. The Appendix includes a list of works for double bass.

The second section of the manual consists of three works that consistently reveal various aspects Double Basic Methodology: Fundamentals of the formulation, the role of the teacher in the organization of the educational process, the experience of using new techniques of the virtuoso game.

1 Warnecke Friedrich. Der kontrabass. Seine Geschichte und Seine Zukunft, Probleme und Deren Lösung, Zur Hebung Des Kontrabaßspiels Hamburg.

Note that the preparation of this work attracted the attention of many musicians. The valuable data were obtained from the double bassists and musicologists of many countries: Hungary, Poland, Czechoslovakia, Bulgaria, GDR, FRG, France, England, Italy, USA, Mexico. Budapest Professor Layos Montag prepares an extensive dictionary of the double bassists. This work has not yet been published, however, Professor Montag, at our request, kindly helped clarify some actual data. Important information reported from the US widow S.A. Kususvitsky. Music libraries and archives responded; For example, Professor Napoleon Phate sent from Bologna microfilms of the manuscripts of some works of Bottezini.

Many Soviet Counterbasists have provided a significant assistance to suggestive advice and consultations, and also provided rare notebooks and photographs. The editor and authors enjoy the opportunity to bring gratitude to all that provided assistance in collecting materials for this work, especially the head and staff of Moscow, Leningrad, Kiev and Tbilisi Conservatory, employees of Moscow and Leningrad Archives, MS Fokin, M.M. Kurbatov, L.G. Andreev, A.V. Mikhno, F.A. Panasenko, E.V. Stolyarova, O.L. Boucovich, TB Levina-Gertovich, L.R. Gliere, as well as S.O. Melnik, who completed photographers for this book.

Essays by history

Double bass

Art

The emergence and evolution of double bass

Perhaps there is not a single tool whose history would be in such a degree of ambiguities as the story of double bass. The origins of double bass refer to the era of the Renaissance. We will not stop at various types of bass bow tools that have existed in Europe of the pore (bass violins, bass liras da Gamba, Lingeron Perfetto), and consider only a viola family in which the precursors of the double bass arise.

Violas appeared in the XV century and existed widely in Europe before mid XVIII century. The Viola family initially included three types of tools: Dotted, alte and tenor viola. All the tools of the VIOL family (except the VioL D Cupid designed at the end of the XVII century) had in the field of frets and regardless of the size were kept vertically at the feet

- "Da Gamba" (Gamba ITAL. - Leg).

The name "Viola da Gamba" was fixed only for the tenor Viola. This tool was the "chapter" of the Viol family and was most common in solo executive. Usually he had six strings, but on some instruments the seventh was added - the lower la. Stroy Tenor Viola da Gamba Quartov-Terch:

Later, another representative of this family was remembered by another representative of this family in the XVI century, a large bass Viola da Gamba (Violone) 1.

This tool is described in a number of works2. It is exactly known its design and sizes. In the form of VOLONE, Tenorova Violea da Gamba was identical, but exceeded the length of its body 1820 cm. VOLONE had six strings and six or seven lands from strings, linked around the neck and griff. Circuit was built below the tenor gambe. Let us give four options for the building of the VIOLON:

This tool hardly penetrates the area chamber music In one of the first Sonatas A. and J. Chima (1610), then it is used as a bass in violin sonata and suite, as well as in the trio-sonats of many composers of the era of the Music Baroque (XVII - mid XVIII century). The appearance of low-testicular tools, possibly associated with the formation already at the end of the XVI century by the reception of Basso Continuo. As soon as a bass voice began to acquire an independent melodic expressiveness and becomes a support of the ensemble, the composers have a need to strengthen and deepen its timbre. The same led to the emergence of another representative of the VIOL family - double bass viola.

1 Violone or Violono - ITAL. Magnifying form of the word Viola.

2 KINSKY G. Musikhistorisches Museum von Wilhelm Heyer in Cöln. Katalog, Zweiter Band, Zupfund Streichinstrumente. Cöln, 1912; Struve B. A. The process of forming a viola and violins. M., 1959; other.

All tools indicate that it was designed at the end of the XVI century. However, the earliest image of this tool made by the famous Venetian artist Paolo Veronese (1528-1588): in his picture "Marriage in Cana" (1563) in the center depicted a group the largest artists Venice playing various musical instruments. Titian, sitting, plays a huge double bass Viola. Thus, it is obvious that the appearance of the tool should be attributed to about the middle of the XVI century.

The inclusion of double bass viol in the opera orchestra was first implemented by Claudio Monteverdi in Opera Orpheus. On the second page of the score published in 1609 in Venice, two double bass viols are mentioned in the orchestra.

The first, quite a reliable description of the double-bacasic Viol was given at the beginning of the XVII century by the German instrument, Michael Pretorius (1571-1621). In his opinion, double-backed viols are advisable to use for octave doubling of the bass voice, performed by VOLONE, so that it will resemble the body. Further Pretorius indicates that in the batches of the double bass viola, the key of the Fa was not on the fourth, but on the third lineup of the notonic, and the lower notes were written with an octava above his sound. Thus, at the beginning of the XVII century, some elements of the modern notation of the double bass batch are folded.

The doublebasic viola had five, less than six strings. Obviously, the larger distribution received five-string tools that had, according to Pretoriouus, such a building:

In France, these strings received the following names: the first - chanterelle (singing), the second - Secondo, the third - Tierce, the fourth - Quatre, Fifth - Bourdon (literally - Bumblebee).

We give a table of the size of three low-dialing varieties of the VIOL family (along with the double bass virgin, we give the size of modern double bass to comparison):

The direct predecessor of the double bass was a double bass viola, approximately equal to him in size. If this five-stroke instrument has to discard one lower string, then the system of four-string double bass will be.

Very important is the message of Pretoriouus that already in his time they sought to facilitate the game on double bass viruses by making various mechanical devices. Pretorius says that due to the large size of these tools, thin strings rarely kept tension. To shorten the length thin stringsOne Prague musician ordered a six-stronger double bass viola, in which the stand was delivered not perpendicular to the strings, and form. As a result, the string from the lower to the top was made gradually shorter (the difference in the length of the extreme strings was equal to about 30.5 cm) and the frets had an unequal length, which made it difficult to work the fingers. Therefore, at the bottom, almost at the end of the cervix, six keys were made to which thick brass wires were attached, pressing the desired way.

The other researcher of the XVII century is also mentioned about the similar mechanism - Marrene Meresenne. The mechanism described by them had eight keys, each of which was marked by the letter; "Therefore, those that do not read music on notes, distinguish them by letters" 1, "he wrote.

Despite the fact that in the description of Pretoriouus and Mersenna, a variety of keys is indicated, the essence of this device is the same. Here we see the germ of the mechanism, which in our days is used to the low string range to expand up to before or even

1 Mersenne Marin. Harmonie Universelle Contenant La Theorie et La Pratique de la Musique ... Chez Sebastien Cramoisy. Paris, 1936, p. 190.

2 In the form, the main constructive features and the building this tool is identical to the usual cello, but surpasses the length of its housing on 6-15 cm. On church bass not very large size, a musician with a wide and flexible brush of his left hand could play cellular applicatues (for example, F. Serve); On larger tools used the appliking of a doublebasic type. Church bass usually performed a simple bass batch in the ensemble and orchestra. But if literally all orchestral instruments (including such a huge and complex, as doublebas) had solo literature, then why not assume that it was similar to the church bass? Then the instrumental affiliation of some concerts of Pihl, Wanhal, Dittersdorf will become more understandable. Analysis of these works indicates that they were intended for a tool with the quinting system that had an upper string and, most likely, which sounded in the same octave, in which his party was noted. Such a bass instrument in the XVIII century. Could be only a church bass. (Not on such a church bass, or, as he called Dragonetti, "Very Big Cello", did he play in the Original Register of the Work of Beethoven?)

vote. Only double bass viola could perform this role. But in conjunction with a violin family, Viola was already clearly inorganized, first of all, because having a greater number of strings, significantly inferior in the strength of the rest of the tools, in particular the cello. Thus, there is a need for a new, more resistant sixteen-patterned bow tool. This problem was permitted by creating a double bass, which was similar to all other tools of the violin family only four strings.

Double bass modern type appeared in the middle of the XVII century. How witty the German instruments were wicked by Kurt Zaks, the double bass is a "rational" from the Vyoll family to the violin. Indeed, many distinctive signs of Viol have been preserved at the double bass. Flat rear deck with beveled riding, gentle "shoulders", soft, stupid angles - all this is purely veils1. However, along with this were made significant changes In the design of the neck and griff. They became already more than that of VOLONE, due to the fact that the tool instead of six strings received only three or four. Lada disappeared, which is also undoubtedly affected the influence of the tools of a violin family. The resonant holes in the form of brackets were replaced by the efami of the violin type2.

Honor of the invention of four-standing double bass is attributed to the Italian instrumental master of Michele Todini (1616-1690). In 1676, Todini published a small book "Galleria Armonica" in Rome, in which he called himself an "inventor of a large VOLONE, called double bass." There is information that in the same year he introduced this tool to the Roman orchestra and manufactured excellent double bass. Apparently, it was the formation that it was indeed the first to introduce significant changes to the double bass Viol: eliminated the Lada and installed the four-string system, preserved to the present day.

Wonderful double bass were made in Italy many outstanding viypical masters: Amati, Stradivari, Tester, Rujerry, representatives of Gallano, Grancino, Gwarnerty and others.

An essential role in the development of the game on the double bass was played by the use of mechanical flashes. Berlin instrumental master Karl Ludwig Bachman to facilitate the setting of the strings of the double bass, in 1778 she attached a small gear wheel to a wooden ring, driven by a screw. For a long time, Bakhman was unconditionally considered the inventor of mechanical rings. However, in Tbilisi there is an Italian double bass with mechanical rods made in the same 1778 Carlo Morelantti, a wizard from Vincenzo (Italy). Morelantti is a contemporary bachman, and it is difficult to determine which of them began to do such eggs. Moreover, as we mentioned, already Pretorius at the beginning of the XVII century described approximately the same mechanical slices used to adjust the double bass veil.

A number of sources indicate that the first use of double bass in the orchestra occurred in Italy. The earliest documentary certificate applies to 1699, when the composer D. Aldandini included the double bass into the score of his opera Caesar Alexandria, written for the Naples Theater3. Shortly thereafter, about 1706, in France, the Great Gambist and the major composer Marjn Mare used double bass in his Operation Operation.

But these first attempts remained single. In the orchestra of the era of the Music Baroque, a long-term bass voice was performed by cello, church bass or cellone, for octave doubling, double-body viols sometimes included.

1 Later, already in the XVIII century, some Italian masters, obviously, under the influence of the tools of a violin family, did a convex lower deck in the contrasts.

2 Efus appeared on many VIOLAs in a very remote era. The Museum of Music Instruments in Poznan is kept gambins of the Krakowsky (XVI century) gambling (XVI century) with resonant holes in the form of EFOs. "Double bass" Gasparo and Saló, relating to the same time, redistributed from double bass viol, but also have copyright ephs.

3 Some sources indicate other dates of this production - 1700 or 1701.

We note a very remarkable fact. The word "VOLONE", originally (from the second half of the XVI century), denoted by a large Bass Viola da Gamba, then (from the last quarter of the XVII century) was identified with a new tool - double bass. In Italy, the double bass began to be called Violone, in England - Double Bass, in France - Contrebasse, in

Germany - Der kontrabass1.

Thus, the Italian term of Violone in the Baroque era could equally relate to two tools - Bolshaya Basovoy Violea da Gamba and Double bass. The ambiguity of the terminology gave rise to a significant confusion in determining what kind of tool meant the composer of that era, denoting it as Violone.

The answer can only give a careful analysis of batches of these tools. Studying the works of the largest composers of the end of the XVII - the first halves XVIII Century, you can withdraw a certain conclusion that the tool called by them "VOLONE" was usually not sixteen-patted, but octume. So, in one of his partists D. Buxtehude (approx. 1637-1707) indicates a possible replacement of instruments: "VOLONE or PAGOT". Often there is another combination - "VOLONE or VIOLA YES GAMBA". In Sonata, A. Korelli (1653-1713) is accompanied by: "Violone E (O) Cembalo" 2. It is known that this party was often performed on Corelli's cello, a famous Corolist Franciscello.

IN there are no doubt that eight-foot, that is, sounding in the octave of its notation, the tool has always been replaced similar to the Testament.

IN Sonata for Viola da Gamba and VOLONE with Clavo Bookustheffe VOLONE WATCH WORK EXPERIENCE CHAIVER PLAYING STRATE SPECIAL POLYPHONIC MUSIC DEVELOPMENT, forms a sharp separation of one voice from the other. It is noteworthy that the VOLONE batch is set forth in a rather high register (in the same as the Viola party da Gamba):

Special ambiguities arise when studying partners I.S. Baha, in which he provides for the participation of VOLONE. From the music it is clear that the bass instrument, which was used in the "Brandenburg Concerts", was visible, marked as VOLONE, had a lower string of the control. It is noteworthy that in the score of the sixth "Brandenburg Concert" Bach repeatedly writes a Siberia Council Council:

If you consider the Bach by the Tool tool, playing an octower below the writing of his party, the Siberian subcontroktava could not be executed on any of the broken tools known to us. In addition, in the execution of this batch on sixteen pathetic (sounding octolation below notation), an instrument, for example on modern double bass, is formed unusual vote with consistently sounding octaves in bass voices (VOLONE and Cello Part). Finally, in the second part of the concert, it is possible to observe the separation of bass votes (performing the same music of the party) into two octaves. This also applies to the final, where two gamuts perform one phrase in unison, after which the same phrase sounds at the bass to octave (which is quite possible), in the other places in two octaves (which is completely incredible).

All this suggests that, as well as many other composers of this afraid, under VOLONE in the sixth "Brandenburg Concert" meant a large bass viola da Gamba, who sounded in the same octave, in which her party was narrated. The timbre of the bass gamba was

1 The Latin word Contra points to the tool that performs the sounds of counter-tiles.

2 "VOLONE AND / OR) CUBLAL."

It has four strings (less often three or five), configured by quarts: E 1, A 1, D, G (MI, LA counter-income, re, large octave salt), range from E 1 (mi countercondes) to G 1 (salt first Octaves) and above.

History of origin and development of the instrument

This double bass was first mentioned in 1566. The predecessor of modern double bass is considered a double bass viola. She possessed five strings configured on D 1, E 1, A 1, D, G (re, mi, la counter, re, large octave salt), and, like most Viol, freaks on the jiff. In the middle of the XVII century italian master Michele Todini based on it constructed a new tool, on which there was no fifth (lowest) strings and the lands, but the form of the body ("shoulders" - parts of the housing adjacent to the corpus - the double bass is still more showing than that of the violin tools Families) and a quarthouse (among modern bow tools, double bass is the only one that possess).

The new tool was first applied in the orchestra in 1699 in Opere Giuseppe Aldrandini "Caesar Alexandrian", but then it was not yet used for a long time (bass voices were performed by cello and low-building viola). Only from the mid-XVIII century, double bass becomes a mandatory participant of the orchestra, pushing out bass viols from it. At the same time, the first counterbasists-virtuosos, who spent with solo concerts, received significant European fame, in particular, Domenico Dragonetti. For the convenience of solo execution of the masters, a three-bundled double bass was constructed, the strings of which were tuned by quints ( G 1, D, A - Salt countercondition, re, lard, i.e., an octave below the cello, but without a string before) or quarts ( A 1, D, G - La counterfeit, re, high octave salt). With the development of performing equipment, it became possible to execute virtuoso writings on the usual orchestral four-stream instrument, and three-bundle double bass were separated from use. For a brighter sound in solo works, the system of double bass is sometimes rising for one tone (this is "solo system").

In the XIX century in search of opportunities to get lower sounds french master Jean Batist Viyom built a double bass height of four meters, called "Oktobas", but because of the huge sizes, this tool did not receive a wide application. Modern double bass can have either the fifth string configured to C 1 (before counterfeiting), or by a special mechanism, "extension" the lowest string and allowing additional lower sounds.

The development of a solo game on double bass in the newest time is due, first of all, with the work of Giovanni Bottezini and Franz Zimandla in late XIX. century. Their efforts brought to new level Virtuosos of the beginning of the 20th century - in particular, Sergey Kubvitsky and Adolf Bears.

Technique games on double bass

On the double bass play standing (as a rule, soloists) or sitting on a high stool (mainly in the orchestra), putting the tool in front of them. The height of the tool is adjusted by the spire length. Receptions of the game on double bass and strokes are the same as on the violin, however, due to its large sizes and less convenient position of the bow (on the weight), the technique of the game of double bass is significantly limited: a large stretch of fingers and a frequent change of positions make it difficult to perform fast passages, jumps , Ham. Pizzicato sounds well in the double bass.

The almost applied double bass range is relatively small: from E 1 (mi counterfeit) to h 1. (si first octave). In solo virtuoso essays, higher sounds can be used. Notes for double bass are written in bass, tenor, less often - viypical key Oktava above valid sound.

The main scope of the use of double bass is the Symphony Orchestra in which the double bass group belongs the most important role Bass foundation. Double bass is also sometimes used in chamber ensembles, as well as in jazz and related genres. In Rocabille and Saikobilli, the double bass is used instead of bass guitar, and they play almost always Slep - due to the "click", the double bass complements the rhythmic section, and in groups without a drummer - successfully replaces it. And in general, you can also play with your fingers, in addition to the bow. In 1940, when another bass guitar did not exist, the double bass was used in jazz orchestrasHowever, it was inconvenient to carry it with him, so he was invented alternative to the bass guitar. In addition, in contrast to the bass guitar, the double bass in fingers sounds much quieter. It is practically not heard in the orchestra, and the bass guitar is built in magnetic pickup, thanks to which the bass line is better heard.

Double bass has dense, low and very juicy timbres. Since low sound is perceived as less loud (in comparison with the high sound of the same intensity), the double bass is rarely used as a solo instrument. Nevertheless, there are quite a few virtuoso counterbasist, masterfully owned technique on it and revealing it rich expressive opportunities. For solo performances Often used vintage master instruments with velvet, soft sound.

Famous counterbasists

In the game on the double bass, only three fingers are used due to a quart system: the first, second and fourth (except Large), only in rare cases in a wide position, the third is used. Strings are watering the bow located in right hand playing. From climbing the length of the oscillating string area decreases, due to which the frequency increases, that is, it turns out a higher sound. Strings, not pressed with fingers, are called open and designated when applied with zero.

From touching the string is almost without pressure in certain locations, flags are obtained. The arrangement of applying the fingers of the left hand is called an applicature.

Forefinger The hands are called the first, the middle-second, nameless - third, the little finger - the fourth. The position is called the appliqué of four neighboring fingers, which are separated from the other on the tone or halftone. On each string you can have seven or more positions. The higher the position, the more difficult it is to play clean in it.

There are two most famous ways to keep the bow:

• German methodAt which the bow is not "from above", but as if "on the side": because of this, the block is larger in width. Thumb Located on canes.
• French wayAt which the bow is kept from above, the method looks like a French french. The thumb is under the cane.

The maintenance of the bow has a great influence on character, strength, the timbre of sound, and in general on phrase. On the double bass, it is possible to take two notes at the same time on neighboring strings (double notes), in exceptional cases - three (the strong pressure of the bow) is required), and not at the same time, but very quickly - three (triple notes) and four. Such combinations are preferably harmonic, it is easier to perform in open strings, and are usually used in complex solo works.