File:The orchestra and its instruments (1917) (14759490666).jpg

Identifier: orchestraitsinst00sing (find matches)
Title: The orchestra and its instruments
Year: 1917 (1910s)
Authors: Singleton, Esther, d. 1930
Subjects: Orchestra Musical instruments
Publisher: New York : The Symphony society of New York
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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the same slantingshoulders and general form. The double-bass alsofollows the habit of the Viol Family in being tuned infourths instead of fifths. If we look at the row of double-basses in theOrchestra, we will notice that some of the men areplaying on instruments with three strings and otherson instruments with four strings; but the work theyhave to do is practically the same. It is fascinat-ing to watch the players whose hands move so rap-idly up and down the long neck of the instrumentand whose fingers fall so intelligently and firmly uponthe right places, while the short, thick, black-hairedbow looks sometimes as if it would saw the double-bass in two. We seldom hear a solo from the double-bass; forcomposers do not encourage him. His voice in spiteof his huge size lacks substance. We cannot imagine the double-bass whispering atender love-song, or indulging in any sweet sentiment.It is essentially an orchestral instrument. Its heavynotes are for the good of the community. They help
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FIRST DOUBLE-BASS, SYMPHONY SOCIETY OF NEW YORK Morris Tivin THE DOUBLE-BASS 69 make a fine, firm background for the melodies andharmonies of the more delicate instruments. The best effects of the double-bass are obtained onhis open strings; and it can (and often does) produceharmonics. No composer ever thought of taking any specialnotice of it until Gluck saw its possibilities andmade it imitate the hoarse barking of Cerberus inhis opera of Orjeo. On the words At the direhowling of Cerberus, the double-basses are doubledwith the violas and violoncellos and make a wonder-ful effect in depicting the three-headed dog of thelower regions. Mozart used the double-bass with great skill inDon Giovanni; but still there was no call for a solofrom the double-bass. Nobody thought of attractingattention to this clumsy old growler, sedate and solemn,often severe, occasionally savage, and, at his bestmoments, gloomy and vague, until Beethoven gavehim greater and greater importance. The next time yo

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