Volume 19, December 2025
The Double Bass: Becoming the Foundation of the Orchestra

Print

Volume 19 of the OJBR presents The Double Bass: Becoming the Foundation of the Orchestra by Victoria Bakewell.

Abstract: This paper explores the development of the double bass during the Baroque period when it evolved from a lesser-known string instrument into a foundational part of the orchestra. Though initially overshadowed by the violin family, the double bass gained prominence due to its unique low register and growing role in rhythmic support. The technical modifications made to the instrument, including changes to string tension and tuning, were essential for improving its sound quality and playability. Italy's influence, particularly through its embrace of the double bass in orchestral settings, was pivotal in spreading the instrument across Europe. The bassists' adaptability and willingness to modify their instruments to meet the orchestra's needs played a crucial role in securing the double bass's place. Its ability to provide harmonic depth and rhythmic stability solidified its role as a necessary instrument in the ensemble.

• About the Author
• Paper
• References

About the Author

Victoria Bakewell is a double bassist and researcher based in Miami, Florida. She has performed with ensembles throughout the U.S. and abroad, including appearances at Festival Napa Valley and MahlerFest. She holds degrees in double bass performance from Concordia College and the University of Colorado Boulder. She is currently pursuing her Doctor of Musical Arts degree at the Frost School of Music, University of Miami, under the guidance of Dr. Brian Powell.

The Baroque period marked a turning point for string instruments, as the violin family rose to prominence and reshaped the orchestral landscape. Amid this transition, the double bass emerged from older string families and solidified its position within the orchestra. Thomas Mann's Doctor Faustus: The Life of the German Composer Adrian Leverkuhn as Told by a Friend references howin the seventeenth century, there were multiple stringed bass instruments: the violone, the giant fiddle, and the double bass (1997: 34). Only one of these stringed bass instruments remains in the modern orchestra, the double bass, which Mann characterizes as "majestic, sonorous, and capable of an unbelievable quality." The first double basses did not yet meet this depiction, as they had yet to gain this sound quality. To understand how the double bass came to have this role, one must look to the Baroque era to see how it gained a foothold in the orchestra.

Despite its integration into the string section, the double bass never received the same attention as the violin family from theorists or composers. Instead, most of its history has been documented by the bassists themselves. This can be seen in works such as The Baroque Double Bass Violone by Alfred Planyavsky (1998), Introduction to the Double Bass by Raymond Elgar (1960), and A New History of the Double Bass by Paul Brun (2000). Planyavsky was an Austrian bassist who studied at the Vienna Academy of Music and became known as a historian of the double bass. Raymond Elgar was an English bassist and author of three books on the double bass. Paul Brun, who earned a degree in English Literature, is also a bassist performing with many orchestras. The writings of these bassists are the most detailed accounts of the history and evolution of the double bass. While there are other books, they have yet to be translated into English, making their approach to the subject hard to ascertain.

Reviewing literature by bassists alone is unable to provide a thorough insight; an additional review of theorists and scholars is imperative. Treatises on instrumentation works that illustrate how an instrument was seen and utilized, such as those by Michael Praetorius (2004), Carl Czerny (1979), and Georg Muffat (2001), offer valuable insight into the treatment of the double bass. These treatises are a direct reflection of the times and culture in which they were written. They were also incapable of showing direct influences from other regions. This intercultural exchange can be seen in works by scholars who focus on the history of the orchestra. Consulting John Spitzer and Neal Zaslaw's book (2004) and Paul Bekker's book (1936) grants knowledge on how the orchestra began, the terminology surrounding the ensemble, and how the regions of Europe interacted. This contributes to a broader understanding of how the double bass was accepted or rejected across Europe.

The terminology surrounding bass-stringed instruments in the Baroque era is a complex matter. There have been many different names used within compositions and writings; "violone, bass de violon, basso di viola, violone grosso, contrabasso," but we cannot say for certain what each name indicates (Spitzer and Zaslaw 2004: 23). Within the Baroque period, it was common to rescore or adapt a piece to what instruments were accessible. This creates a blurring of terminology, as having the indicated instrument was less critical than having an instrument that could play in the written range: treble, alto, tenor, or bass. As the Baroque orchestra's popularity grew, this confusion of terminology slowly receded. Around 1730, the importance of the register grew, and the standard was to have 8-foot cellos and 16-foot double basses play the same line (Spitzer and Zaslaw 2004: 23). The terms 8-foot and 16-foot refer to the registers of the cello and double bass, with the double bass sounding an octave lower than the cello. The value placed on the register of the instruments allowed the double bass to integrate itself into the orchestra due to its 16-foot register. This distinct low register not only gave the double bass a unique role in the ensemble but also set it apart from other string instruments, ensuring its position as the foundation of the orchestra.

While the terminology for bass instruments in general started to clear up as orchestral practices evolved, confusion surrounding the double bass itself persisted. Elgar notes that even the double bass went by several names, including "Contre-bass, Double-bass, or Bass-double and Violone," reflecting its complex evolution alongside other bass instruments (Elgar 1960: 3). The double bass is a different specimen than its fellow string bass instruments: "It is a Double-bass of which the body and the fingerboard are nearly twice as large as those of the ordinary Bass de Violon, and of which the strings are also nearly twice as long and twice as thick as those of the Basse de violon, and which in consequence is an octave lower than that of the ordinary Basses de Violon" (Elgar 1960: 15-16). This explanation comes from Sebastian de Brossard (1655-1730), a musician who was a vicar and maître de Chapelle at the Strasbourg Cathedral and later the cathedral in Meaux (Brossard 2001). This distinction between the double bass and the violin family's Basse de Violon made the Basse de Violon's use redundant allowing the double bass to stand next to the violin family.

The Baroque orchestra began developing in the middle of the 17th century, using string instruments from the violin and violone families. The double bass, which had previously been used in church music, did not make its appearance in the orchestra until the turn of the 18th century (Spitzer and Zaslaw 2004: 20). Another instrumental ensemble is the Baroque opera, which started its development at the end of the 16th century in Italy. It has been reported that the first appearance of the bass in the French Opera was in 1700 (Elgar 1960: 16). At this time, the double bass was slowly making its way into the orchestra and was used alongside the violone. The violone is an instrument between the violoncello and the double bass in size and range. Many scholars debate the ancestry of the double bass, but when compared to the other bass-stringed instruments, the violone bears the closest resemblance.

In Charles Labro's Method of Contre-bass, there is a comparison between the violone and the double bass. Although both play in a similar register, the violone being tuned D, A, E, C, G, D, beginning just above the 16-foot C on the organ, the tone of the violone is weaker (Elgar 1960: 21-22). The tone of the double bass is considered heavier and has more weight, providing power to the orchestra. The violone is weaker in tone but is regarded as having a pure quality. Due to its weaker tone, it is considered more suitable for accompanying other viol instruments than an orchestra. Due to the double bass's powerful lower register, it surpassed the other bass-stringed instruments. The ability to create a strong foundation would be necessary for both the instrument and the orchestra to evolve.

The orchestra began placing more significance on the register of the bass instrument. This concept had started before the double bass began to enter the ensemble. Treatises on instrumentation, such as Michael Praetorius's Syntagma Musicum (1619), show that theorists emphasized the bass instrument's ability to play in their lowest ranges and expressed that the parts written for these instruments should occur on the lowest strings (148). Praetorius was a German composer, theorist, and organist who wrote this treatise near the end of his life. His treatment of the bass-stringed instrument would be reaffirmed by Georg Muffat, another German composer, in 1698 (Planyavsky 1998: 3). Together, these treatises highlight the increasing recognition of the double bass's importance in providing both harmonic depth and rhythmic precision within the evolving orchestral framework.

Treatises written after the Baroque period reveal transitions that occurred within the orchestra. An Austrian composer, Carl Czerny, wrote the School of Practical Composition circa 1848. This treatise served the composers of his time by examining the instruments in the orchestra and detailing their strengths and weaknesses. This would allow composers to write parts that better suited the capabilities of each instrument. This treatise has an entry for the double bass instead of the violone or the bass de violon. Czerny emphasizes the double bass's crucial role in orchestral composition, stating that its deep, resonant tone provides a foundation for the structure and harmony of the ensemble, adding a sense of majesty and dignity (1979: 5). This treatise coming 150 years after Syntagma Musicum reaffirms the importance of the bass's register and the influx of the double bass in the orchestra.

The review of these treatises and terminology alone, while showing the acceptance of the double bass into the orchestra, makes the journey for the double bass appear effortless. Even though the double bass predates the violin family, the evolution of the double bass was gradual. In the Baroque period, the double bass continuously adapted to the orchestra's needs. The treatises make it clear that one of the significant roles the double bass filled was due to its capable lower register, providing a harmonic foundation. The double bass could not sustain its position within the orchestra with just one role; its adaptability and willingness to take on additional responsibilities helped it become essential.

Since the double bass replaced the violone, previously serving as the timekeeper, the orchestra needed a new timekeeper. While the double bass had a heavier tone, its quality was less crisp and precise, prompting the need to adapt. The bassists of this time recognized that their instruments needed to change to fulfill this role effectively, so they brought their instruments to luthiers. Brun details several key modifications to the double bass during this time (2001: 66-70). Luthiers replaced the neck and fingerboard with violin-style patterns, removed frets, and excess strings. Luthiers also reinforced the instrument's interior, strengthening the bass-bar and soundpost to support the added pressure of these strings. These changes significantly improved the instrument's sound and durability. Luthiers applied these modifications to existing double basses, experimenting with different alterations until the impacts on sound and playability became clear.

The modifications made to the double bass significantly improved its ability to adapt within the orchestra. Regraduating and strengthening the inside of the double bass allowed for more alterations on the outside. The bass's sound quality was amplified and sharpened by adding heavier, tenser strings. Meanwhile, the removal of excess strings improved balance, enabling the bass to produce a clearer, more penetrating tone even in the registers that had been previously muddy and incoherent. In Paul Brun's book, he states: "All those adjustments gave increased carrying power to an instrument which had one quality in perfection – energy" (2000: 40). The double bass was modified in a way that made the sound quality more precise, no longer grumbling but instead able to provide rhythmic energy. Being able to contribute both harmonic foundation and rhythmic stability helped the double bass become a necessity in the orchestra. As orchestras expanded in size and complexity, the double bass's role as a rhythmic support became increasingly important, maintaining a steady tempo alongside its harmonic support. Its deep, resonant tone anchored the harmony and rhythm of the ensemble, ensuring precision and unity in performance.

As luthiers experimented with different modifications, these changes were not adopted uniformly across regions. This led to regional variations in the construction and tuning of the double bass. In Germany alone, basses varied from three to five strings, each with distinct tunings, reflecting the experimental nature of this period. These tunings included, from highest to lowest string: A-D-G; A-D-A; G-D-G; G-D-A-E; A-F-C-G; A-F#-D-A-F (Elgar 1960: 17). These regional differences were influenced by several factors, including the availability of materials for making modifications and the practical limits of altering existing instruments. Additionally, many players were reluctant to adopt new tuning systems, preferring to keep the ones they were familiar with to avoid learning new fingering systems, which would have required extensive retraining.

These factors not only highlight the experimental nature of the period but also contribute to the challenges of standardizing orchestral performance across Europe. The variations in tuning affected the ranges that bassists could play in and what music they could play without raising the octave. This variability also impacted composers, as their works could be performed as written in some regions, while in others the parts would be modified. Although this barrier would not be resolved entirely during the Baroque period, one must look at later orchestras to find a more thorough standardization of the double bass tuning. As orchestras grew in size and scope throughout the 18th and 19th centuries, the need for consistency across regions and ensembles prompted a gradual move toward standardized tunings, particularly in the Classical period. The innovations of the Baroque period laid the foundation for the increased complexity and size of Classical orchestras, which demanded greater consistency in tuning and orchestration.

As in the Baroque period, the double bass went through transitions of shape, material, and tuning. Each country not only had tuning systems within regions, but they also had different access to the instrument itself, and the availability of cellos and basses varied by country and orchestra. Prior research has found that many individual orchestras always had at least one double bass, but not every orchestra had a violoncello (Spitzer and Zaslaw 2004: 310). These researchers also tracked the ratio of cellos to basses within France, Germany, and Italy. According to Spitzer and Zaslaw, French orchestras initially favored cellos, while Italian ensembles used more double basses. English and German orchestras shifted from French preferences toward the Italian balance over time (2004: 329). As Italy was the musical center of Europe at the turn of the seventeenth century, this shift towards more double basses throughout Europe is an example of Italy's influence.

Italy's influence on the double bass's role in the orchestra is tied to its status as Europe's most influential musical region during the Baroque period. The rise of genres like the sonata and concerto, originating in Italy, illustrates its dominance in shaping musical forms and practices. Italy's appreciation for the double bass, alongside these developments, helped the instrument secure its place in orchestras across Europe. As Brun notes, the orchestral foundation in Italy relied on the combined energy of the cello and double bass (2000: 66-70). The prominence of the double bass in Italy is further highlighted by its use in the Venetian ospedali. In these convents, women, who were typically excluded from formal musical education, were given training (Fuller and Latham 2002).

A report from Friedrich Nicolai in 1781 further emphasizes the double bass's importance, noting that a nun playing the instrument in the Venetian ospedali produced a sound larger than that of many male players (Spitzer and Zaslaw 2004: 434). The idea of a woman, especially a nun, performing on an instrument as physically demanding and traditionally "unfeminine" as the double bass, underscores how deeply integrated the instrument had become in Italian musical culture. This breaking of gender norms illustrates the growing significance of the double bass in Italy, where it held such prominence that even societal conventions around women and music were stretched. As Italy solidified the use of the double bass, other regions began incorporating more basses into their ensembles, reflecting Italian influence. Paul Bekker's research on orchestral charts and employment contracts reveals that in 1750, the Dresden opera had three cellos and three double basses; by 1784, at the Handel festival in Westminster Abbey, there were twenty-one cellos and fifteen double basses (1936: 29). This transition toward the increased presence of double basses in orchestras across Europe demonstrates how Italy's embrace of the instrument set a standard that influenced other musical centers.

The double bass established its position as a foundational instrument within the baroque orchestra, marking a significant evolution in its role. The advancements during this period set the stage for its continued prominence in later musical contexts. Spitzer and Zaslaw's tracking of the ratios of cellos to basses provides insight into the ongoing importance of the double bass. They found that, "In principle the 'Classical' orchestra contained both cellos and double basses, although many individual orchestras lacked cellos, and few had no double basses. Three-string, unfretted double basses were the rule in Italy, four-string fretted basses in France; German players used three-, four- and five-string models (Spitzer and Zaslaw 2004: 310)." This diversity reflects the adaptability and acceptance of the double bass that began in the Baroque period. This highlights how the groundwork laid during this era allowed the instrument to thrive in various orchestral settings across Europe.

During this transition, both in the orchestra and in instrument design, the double bass outpaced earlier bass string instruments with its 16-foot register, rich tone, and enhanced rhythmic capabilities. Scholars of the double bass pinpoint how the instrument adapted from the viol and continued to evolve in its capabilities. The treatises of Michael Praetorius and Carl Czerny offer definitions of the double bass at the beginning of the development of the Baroque orchestra and after, in the early Classical orchestra. Subtle changes in the role and definition of the double bass reveal how deeply composers valued its contributions to ensembles. Spitzer and Zaslaw's research into orchestral development highlights how Italy's preference for the double bass over the violoncello gradually influenced the musical practices of other countries.

Through the Baroque orchestra, the double bass found its position as a staple member of the orchestra. The double bass, originally from the viol family, evolved into what was needed by ensembles. As the shape, materials, and strings changed, the double bass became more practical in approach, and bassists could play with a new tone and energy. By modifying their instruments–removing frets, changing string pitches, and enhancing the instrument's power–bassists ensured that the double bass could meet the growing demands of larger ensembles. The rise of the double bass during the Baroque period was crucial to securing its role in the orchestra. The adaptability of the bassists allowed them to thrive in the Baroque orchestra and paved the way for further development of the instrument through the Classical and Romantic periods. Without these innovations, the orchestra as we know it would be vastly different. The double bass's ability to provide harmonic depth and rhythmic foundation redefined its role in the ensemble. This evolution, made possible by the adaptability of both bassists and luthiers, ensured that the double bass would continue to thrive as a vital member of the orchestral family. As a result, composers began to explore its capabilities more fully, recognizing the new dimension it brought to orchestral music, a shift that ensured the double bass a permanent position in the orchestra.

References

Bekker, Paul. The Story of the Orchestra. New York: W.W. Norton and Company, Inc., 1936.

Brun, Paul. A New History of the Double Bass. Villeneuve d'Ascq, France: Paul Brun

Productions, 2000.

Brun, Paul. "A New History of the Double Bass." American String Teacher, vol. 51 no. 1 (2001):

66-70. https://doi.org/10.1177/000313130105100110.

Brossard, Yolande de. "Brossard, Sébastien de." In Grove Music Online. Oxford University

Press, 2001. https://doi.org/10.1093/gmo/9781561592630.article.04079.

Czerny, Carl, John Bishop, trans. School of Practical Composition III. New York: Da Capo

Press, 1979.

Elgar, Raymond. Introduction to the Double Bass. United Kingdom: St. Leonard-on-Sea, 1960.

Fuller, Sophie, Alison Latham, ed. "Women in Music." In The Oxford Companion to Music.

Oxford University Press, 2002.

Mann, Thomas, John E. Woods, trans. Doctor Faustus: The Life of the German Composer

Adrian Leverkuhn as Told by a Friend. New York: A. Kopf, Inc., 1997.

Muffat, Georg, David K. Wilson, trans. and ed. Georg Muffat on Performance Practice: The

Texts from Florilegium Primum, Florilegium Secundum, and Auserlesene

Instrumentalmusik–A New Translation with Commentary. Bloomington: Indiana

University Press, 2001.

Planyavsky, Alfred, James Barket, trans. The Baroque Double Bass Violone. Lanham, MD:

Scarecrow Press, 1998.

Praetorius, Michael, Jeffery Kite-Powell, trans. and ed. Syntagma Musicum III. New York:

Oxford University Press, 2004.

Spitzer, John, and Neal Zaslaw. The Birth of the Orchestra: History of an Institution, 1650-1815.

New York: Oxford University Press, 2004.