A New History Of The Double Bass Paul Brun Pdf Viewer

Hard-backed book, 336 pages, 58 illustrations, numerous musical examples. Published January 2000. Received the International Society of Bassists 2003 Special Recognition Award in the 'Scholarship' category. Download internet tv for pc. Jan 15, 2019 - Post Navigation Warriors Orochi 3 keygen IDM crack Delfino Bambaren PDF to Word search for: Latest news Age of Empires 2 age of Kings.

“The development of the double bass is linked to two facets of musical history: the changing configuration of the violin family and the evolution of the orchestral ensemble. As a member of the violin family, the double bass shares fully in its history, development and technique.” The above quote by Paul Brun, the world’s leading double bass scholar, only hints at the complexity of the contrabass’ twofold history. If only the double bass followed the seemingly linear trajectory of the violin! There would have been little room for debate on how to hold, play, and tune the instrument. In reality, the double bass has had a relatively colourful, albeit unstable history compared to all the other modern strings.

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Owing to a variety of factors, most of which distil from the sheer size of the instrument, the double bass has eluded the standardization that is common amongst the other modern members of the violin family. The other stringed instruments were not often subjected to frequent changes in tuning, instrument size, number of strings, or playing technique, all of which have plagued double bass players since the inception of the violin family. Owing to its size, the double bass has defied standardization.

This lack of standardization is the result of the ongoing search for an ideal: that the entire family of violin-based instruments may produce a clear and powerful sound throughout their overlapping ranges. Owing to their unique internal structure, the violins can withstand tremendous amounts of pressure exerted upon them by the strings without impeding resonance. While the rest of the violin family was able to achieve equilibrium of power and playability early in life, the double bass, with its proportionally larger dimensions, faced extra challenges. The instrument itself may infinitely expand its dimensions to accommodate the lowest pitches, but alas, our physiology is limited: the human hand is only so large. While a violinist may easily span a perfect fourth between their index and pinkie fingers, a bass player may only be able to span a major second.

Therefore the bass player must move, or shift, their left hand more frequently than the violinist, the violist, and the cellist. How then, is it possible to have a rapidly responding bass instrument which incorporates an ease of execution, desirable clear and powerful ‘violin’ sound, and the ability to reach the lowest register? Historically, there have been a series of compromises, where some of the desired traits are achieved at the expense of others. Most commonly, and the only system which could be considered ‘standard’ in a modern context, is the practice of tuning the double bass in fourths: “Tuning in fourths, although it reduces the range of the open strings, has now become the generally recognised choice for the double bass.” It allows for a four-stringed instrument, which reaches most of the desired range, to be able to execute rapid scale passages with minimal left-hand position changes (shifts).

This solution, however universally applied, is still a compromise, and as such, is detrimental to some important desirable traits. Most disparagingly, the abandonment of the tuning system used by the rest of the string family has very serious adverse effects. Conceivably, it is very difficult to play in tune with the rest of the strings when equipped with an instrument that resonates in a fundamentally different way. Why not then, retain the same tuning system, and find a compromise less detrimental, considering the importance of intonation in modern performance practice? The modern tuning of the double bass in fifths is the most viable solution to the difficulty of finding a rapidly responding bass instrument which incorporates an ease of execution, desirable clear and powerful ‘violin’ sound, and the ability to reach the lowest register. When tuned in fifths, with four strings and doubling the cello range by an octave, the double bass is truly a full-blooded member of the violin family.