. Orchestration . adt m mm crar r r r r 9t±j_£ rrr r rr rr. 436 ORCHESTRATION No. 51. The Fr. Contre basse ; It. Contrabasso ;2 Ger. Kontrabass. This instrument, the lowest and. heaviest of the entire String-group,has only recently been standardized in pitch. In the seventeenth andeighteenth centuries various types and sizes of Bass were in use, andit may almost be said that, in the matter of stringing and tuning,each player did what was good in his own eyes. The instrument which had emerged in the latter half of theeighteenth century as fittest to survive was a three-stringer. I
. Orchestration . adt m mm crar r r r r 9t±j_£ rrr r rr rr. 436 ORCHESTRATION No. 51. The Fr. Contre basse ; It. Contrabasso ;2 Ger. Kontrabass. This instrument, the lowest and. heaviest of the entire String-group,has only recently been standardized in pitch. In the seventeenth andeighteenth centuries various types and sizes of Bass were in use, andit may almost be said that, in the matter of stringing and tuning,each player did what was good in his own eyes. The instrument which had emerged in the latter half of theeighteenth century as fittest to survive was a three-stringer. It wasgenerally tuned thus but, less commonly, m This was the Bass for which Beethoven wrote, the Bass which stillremains the most characteristic in tone-colour and the most powerfulin tone-quality. Up to Beethovens day, however, little attempt wasmade by composers either to study the Bass as an independent instru-ment or to provide it with parts suitable to its nature. This laxityextended in particular to questions of downward compass. A singlepart was
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