A history of the double bass
The double bass is the lowest string instrument of the orchestra – and at the same time the foundation of jazz, blues, rockabilly and tango. Its history is one of detours: it descends from two instrument families, had no standard tuning for centuries and only found its place as a solo instrument late on.
16th–17th century
Between viol and violin
The ancestors of the double bass are the large bass instruments of the 16th century, usually called violone. To this day the double bass carries features of the viol family – sloping shoulders, often a flat back and tuning in fourths – as well as features of the violin family, such as the f-holes and the scroll.
Whether the double bass is closer to a viol or a violin is still debated. What is certain: for a long time there was no standard size, number of strings or tuning.
second half of the 18th century
The Viennese double bass
From around 1760, Vienna and its surroundings developed a solo culture of their own: a five-string double bass with frets in the so-called Viennese tuning (F–A–d–f♯–a). Carl Ditters von Dittersdorf, Johann Baptist Vanhal and Johann Matthias Sperger wrote solo concertos for it.
Mozart also composed for a Viennese bassist: the concert aria “Per questa bella mano”, K. 612, has an obbligato double bass part. When the Viennese tuning disappeared, these works were forgotten for a long time.
19th century
The great virtuosos
Domenico Dragonetti (1763–1846) from Venice built his career in London as a soloist and orchestral player; the bow named after him, with its high frog, is a forerunner of today’s German bow.
Giovanni Bottesini (1821–1889) is known as the “Paganini of the double bass”. He wrote concertos, duos and fantasies that are still core repertoire, and was also a conductor – in 1871 he led the premiere of Verdi’s “Aida” in Cairo.
19th–20th century
An instrument for the orchestra
In the orchestra the four-string bass tuned in fourths prevailed: E–A–D–G, written an octave higher than it sounds. Lower notes are reached with a fifth string (usually B) or a C extension on the neck.
Franz Simandl (1840–1912), double bassist at the Vienna Court Opera, wrote a method that is still in use today. Two kinds of bow are played: the German bow held underhand and the French bow held overhand, like a cello bow.
20th century
The double bass as a solo instrument
Serge Koussevitzky (1874–1951) was first a celebrated double bass soloist before becoming famous as conductor of the Boston Symphony Orchestra; his Double Bass Concerto, Op. 3, is still played today.
Gary Karr (born 1941) brought the double bass to the great stages as a solo instrument and founded the International Society of Bassists in 1967. In Vienna, Ludwig Streicher (1920–2003) shaped generations of bassists.
from the 1920s
Jazz: the pulse of the band
In early jazz the double bass took over the role of the tuba – plucked and often slapped. With the walking bass, a continuous line in quarter notes, it became the timekeeper and harmonic foundation of every band.
Jimmy Blanton (1918–1942) turned it into a melodic voice in Duke Ellington’s orchestra. Charles Mingus, Ray Brown, Paul Chambers and Scott LaFaro took this further – up to equal partnership in the piano trio.
20th century
Blues, rockabilly, bluegrass, tango
In the blues, Willie Dixon (1915–1992) shaped the sound of Chicago – as bassist, songwriter and producer. Bill Black (1926–1965) played the slapped bass on Elvis Presley’s first recordings and became the model for rockabilly.
In bluegrass and folk music the double bass carries the alternating bass, in tango the distinctive accents of the orquesta típica.
today
Today: without boundaries
Today many bassists move between worlds: Edgar Meyer between classical music and bluegrass, Esperanza Spalding between jazz, pop and singing. Composers write new works for solo double bass, for ensembles and with electronics.
This website collects what belongs to the world of the double bass: people, scores and books – and grows with every addition.