Dear readers, in this issue I'd like to introduce you to an incredible instrument, which for its quality, concept and innovation represents an absolutely unique sample, where the restoration work has brought to light a number of structural features anticipating our contemporary research by more than one century. Let's think that, already around 1850, this great luthier, from the Marches region, designed this double bass with an adjustable pull-out neck by substituting the lateral bars placed between the resonating body and the neck. A particularly interesting solution is the joint at the bottom of the insert, which is an idea for a modern luthier. Beside the sinuous pear-form, which also constitutes a clear sign of Baldantoni's production, this instrument is absolutely original in each of its elements, such as the varnish, completely intact and bright, the refined Fs and the soft curl design. From an acoustic point of view, the instrument shows a number of brilliant and bright features, with its specific timbre richness in the highest registers, making it a perfect double bass for chamber or solo music. An almost identical instrument is played by Maestro Stefano Scodanibbio.

Some time ago, I was reading on a forum visited by double-bass aficionados about the unpleasant attitude that double-bass players seem to have at present when playing in an orchestra, not only from a behavioural of view but, above all, from the musical one. Nowadays, indeed, the double-bass player, just like any other musician, is not trained anymore for the job of "orchestral player", as was the case in the past. The fault cannot be attributable to anyone because what has changed in time is the type of training and the methods of recruiting and starting out in this profession. Of course I am not the most suitable person to talk about the etiquette to be respected in the orchestra but, during my studies and researches, I happened to read a "list of rules" for the double bass player in the orchestra. It was written by an experienced musician. I would like to discuss it with you. In order to acknowledge the reliability and authority of these rules, it will be useful to know about the author and his background. He belonged to a real dynasty of double bass players, a case that seems to be unique in history. I am referring to the Anglois family, a family from Turin that gave spawned four generations of double-bass players.

The Anglois dynasty at the service of the King

There is little information about the progenitor, Stefano Anglois. The only information we have is that he was born in Turin, where he also died at the end of the 18° century. He played the double bass in the orchestra of the Teatro Regio in Turin where he was joined by his son Giorgio in 1789. We have more details about Giorgio Anglois, but we will exclude the biographical notes here. He is surely the most famous member of the family, together with his son Luigi. In fact, he is the author of the second method for double-bass playing published in Italy. This method can be considered to the leading one on the double-bass for the orchestra, and we certainly understand the reason for it. Giorgio Anglois was first double bass in the orchestra of King Vittorio Emanuele I and dealt with the training of the court double-bass players, among which there were his two sons, Giuseppe e Luigi that played in the orchestra with their father until his death. While there are no further elements about Giuseppe's life and works, we have a lot of information about Luigi's career. He was the first member of the family that left the orchestra and bravely started out on a solo career. In the 1820’s Luigi left Turin to start a successful tour of Europe and America, causing some concern to Bottesini who, in those days, was the undisputed protagonist of the major international theatres. As usual, rumour has it that there was great competition among the two, but I would not trust these legends. Actually, we can compare the great quantity of sources, articles, information concerning Bottesini with poor information about Luigi Anglois (that, in any case, could still be unknown) or even the repertories of the two soloists. We know that Luigi composed a Concerto, a Capriccio and other short pieces for double bass; all of them have been lost. Moreover, we know that, in 1872, he founded the first double-bass class at the Conservatoire in Turin. He adopted his father's method, though only for four months, since he died soon afterwards. In our framework, the most interesting figure is Giorgio, who was the author of many lost works for double-bass and of the “Theoretical-practical method for orchestral double-bass” but bears Luigi Felice Rossi's signature (let me point out again that he is not THAT Luigi Rossi who belonged to the Milan school!). Probably, this Method only bears the name of Luigi Felice Rossi since he was the Director of the Civica Scuola di Musica in Turin and, therefore, the official censor. Finally, we have to mention the last member of the family, Giacomo, who was part of the orchestra at the Teatro Regio but we have no information about him.

“How must the orchestral double-bass player behave”

Giorgio Anglois' rules for the perfect double-bass orchestral player are included in the addendum of the above mentioned Rossi-Anglois method. For a further analysis of this book, I suggest you to read the book "The double-bass method by Giovanni Bottesini – a matter of "school". It is the only addendum of this book that follows the structure of the book itself, divided into theoretical articles (first part) and practical articles (second part). Actually, these rules, too, could have been included as an "article" and the fact that the authors decided to include them as an addendum to the "theoretical" part makes us wonder. Let me include here the original full text, without omissions or changes. The aim is to leave the same ironic and argumentative tone that characterizes the entire book. […] We suggest that the student carefully read the following rules:

• 1. The orchestral double bass shall always have, so to speak, an eye on his score and the other one on the conductor, while his ears shall always be attuned to the main melody. The aim is to follow the movement of the music accurately and to perceive the smallest variation during its performance.
• 2. Having captured the movement, he shall always avoid changing it, with a rallentando or accellerando, at his own discretion. Similarly, during any changes in rhythm in the piece, he shall pay attention to play his notes at the very same moment indicated by the conductor or by the main melody. Any smallest departure from this rule constitutes the worst possible fault for a double-bass player. That is why we mentioned that his main qualities is that of being able to keep strictly to the time of the music.
• 3. It is obvious that a double bass player, just like any other musician, must be able to play his part as it is written on the paper. If not he had better not play in an orchestra. Let us also stress that, should there be a passage impossible to play, he must know which of the notes are the most essential for the harmony, in order to only ignore the less important ones. He shall never think about adding even one single note to the score, this would be a serious fault. If necessary, he could evaluate whether doubling the open strings in a unison or octave, in fortissimo.
• 4. As we have already said, let us repeat that the double bass player must have a good sense of intonation. Whoever does not have good intonation cannot play in an orchestra. He would do better to play alone, in order to be more tolerable. An even better piece of advice for him would be to set aside the double- bass or the subject of music entirely.
• 5. What we have just said about the attention that the double bass player must pay to the conductor and the main melody is aimed not only at making him follow these strictly but it must also be said that he sets the pace in the orchestra. Indeed, where the orchestra happens to be lacking an internal equilibrium, he shall then use one of the above mentioned qualities, that is to say, as needs be he shall give one or more energetic strokes to try to restore the orchestra's equilibrium. We must also advice him not to abuse of this ruse. It is only need, at the right moment, that justifies him playing forte when he is supposed to be playing piano.
• 6. Another common problem for our double-bass players is that they are not really able to play piano. Their piano, in fact, seems more like a mezzo forte. Our student should therefore train to play the entire range from pianissimo to fortissimo, with all the intermediate grades, and then apply them at the right moment and with intelligence.
• 7. Another common problem is to drag out, in a sense, the single notes that appear to accompany the melody. By playing them in this way, they may appear to be undecided and boring to our ears. They are partly the reason why, as already said, we rarely hear our orchestras play a real piano. The above-mentioned notes shall be played with a very short and sharp bow movement. They shall then sound clear and gracious, without being forte.
• 8. Lastly, our student shall also play with vigour in the forte, but also be careful not to cause the strings to vibrate in such a way that they beat on the fretboard. This is a very annoying sound. The same warning is also necessary for the pizzicato.

Don't loose the special video interview with the legendary jazz doublebassist on Xbass.tv !!!

Petite pièce pour contrebasse pizzicato en double-stops

"Pretty Slow-Lille" is a small piece that I wrote in 1995, while residing in Lille, North of France. Lille is a small and quiet town, but has a special atmosphere and the citizens are welcoming and generous people. In this framework, I worked as a professor and had the opportunity to create a sextet with some local musicians. Together, we performed a number of concerts, including a piece for solo double-bass.

Double-stops pizzicato – I've always been very sensitive to this special technique, which I do love – maybe because the first instrument I played was a guitar. It stimulated me to look for various applications on the double-bass. Two notes played simultaneously are able to suggest many harmonies and create particularly expressive atmospheres, even if they are no proper chords. This technique is very useful for the double-bass player that improvises and accompanies, especially in duo – with a singer or a (monodic) solo instrument – or in trio – for example, with the inclusion of percussions. Of course, one can use it also with polyphonic instruments, such as piano, guitar, vibraphone, accordion, etc., if played with the right sense of « retenue » and with the necessary « savoir faire » in the choice of the stops and the various harmonic densities.

Here are some examples of this technique:

• - CD « A SIP OF YOUR TOUCH » - NTCD 402 (Piantranese, solo double-bass; But not for me, duo with Dave Liebman; Do you feel what I feel, duo with singer Rachel Gould)
• - CD « ROSES & ROOTS » - NTCD 373 (Roots Routes, duo with drummer Joey Baron)
• - CD « DOUBLE TAKE » - RMCD 4502 (I’m a fool to want you, duo with guitarist Joe Diorio)
• - CD «UN COUPLE EPATANT - CAVALE – APRES LA VIE » - Universal 067 028-2 (Riccardo Del Fra's soundtrack for Lucas Belvaux's trilogy)

The peculiar aspect of « Pretty Slow-Lille » is its benefit for training purposes:

for the intonation: thanks to the D (open string), as a constant presence and reference point in the first passage, where, on the 1st string, from G to octave G, all the notes of the chromatic spectrum are played;

for the quality of the pizzicato sound, to be achieved to obtain a round sustain, with the same duration between the lowest and highest note;

for the left hand, requiring a balanced touch and pressure, but also for the use of the fingers in the other hand. In fact, there are a number of possible options: two strings can be played with a simultaneous pizzicato, for example, with thumb and forefinger (or with forefinger and middle finger or with thumb and medium finger). The two strings can be played with pizzicato not simultaneously, for example, the lowest note is played firstly, as an appoggiatura.

As a matter of facts, there are many possibilities, also offering a number of rhythmic solutions.

Let me suggest 2 variants for the hand playing the pizzicato: in the first part, thumb on D, forefinger and medium finger alternating on G. The strings shall be simultaneously played with pizzicato. In the second part, thumb on the lowest note, forefinger and medium finger alternating on the highest note throughout the piece. Play firstly the lowest note with the thumb and the highest note with the forefinger or medium finger, as you prefer.The other hand shall not vibrate (during the rehearsal phase).

I hope you will enjoy the French taste of this piece.

Have a good music, Riccardo Del Fra

Introduction

In this article, I would like to talk about a particular subject: the strings, with their expressive and timbre features and their use according to the needs of the player. The choice of strings is very important for a number of reasons: it enhances the instrument, makes studying easier since the right hand's work is lighter, thanks to an immediate emission and the left hand's work is also lighter (less pressure) and so on. To sum up, the choice of the best strings helps in developing a relationship with a more enjoyable and less frustrating instrument. The double bass has traditionally been considered as an ungrateful instrument. Nevertheless, one could create the conditions to make it work better. With the right strings it will probably show itself to be more user-friendly!
These ideas are at the basis of the experience we are going to tell you about.
It all started with the interest of a student of mine aimed at improving his double bass: his curiosity led him to test various kinds of strings. First the traditional ones, then the more advanced models until up the most recent creations.
The name of our researcher is Amin Zarrinchang, he is attending the two-year course for the second grade qualification at the Conservatoire "G. Rossini" in Pesaro (Central Italy). My task was only to encourage him in his research and to give my suggestions.
I would like to point out that the strings tested are many more than the ones described here. We had to make a selection of them for this article, in order to make it not too long. These strings are the ones most used among double bass players and reliably represent current trends.
In conclusions let me clarify that neither Amin nor I have any business relations with string producers. This article is the fruit of an autonomous work for the benefit of all double bass players. Nevertheless, I recently had a bad experience with a firm that, in my point of view, does not really care about its clients… I will soon let you know how it ended but what a strange way to promote oneself!. These strings are so expensive that proper technical service would be the least one could expect. If you have also had misadventures of this kind please send us your experiences through the magazine or the forum. They will be useful in the future. Now, over to Amin who is ready to illustrate some delicious information string by string. Enjoy it!
Alfredo Trebbi

Short prelude

The following article does not have the presumption to contain absolute truths.
The assessment of a string requires the musician to have a number of necessary personal parameters, which are not standard, including the type of instrument, the way of playing (light and agile, sturdy and solid…), his/her personal tastes and so on.
Nonetheless many strings have a number of objective and evident features (their make, materials, tension, calibre...) that can appear in different measures, instrument by instrument. In any case, they are technically different among themselves.
In order to guarantee a more realistic description of the various products, I have restricted my research to those strings I was able to test throughout time not only on my own instrument, but also on double-basses of friends and colleagues, by using different bows, in order to avoid a biased opinion bound to the features of my own instruments.
Lastly, even the "bow variable" has its own influence on the final result, though it is not a determining aspect. A heavy bow, pushing strongly against the string is not able to work at its best on thin strings and/or with poor tension. Similarly, a very light and quick bow may not work properly on strings with a wider diameter and higher tension. Not to mention the timbre combinations between bow and strings that may manipulate personal judgement.

My work is the fruit of my vital love for Our Beloved Instrument and Maestro Trebbi's enthusiastic support. The subject of strings is one of my favourite. Nevertheless, I tried, as far as possible, to isolate my personal variables and to focus on the string itself. This is the reason why the strings mentioned are only some of those that I was able to test in different timbre-acoustic situations.

The strings are all tested at their orchestra tuning.
When evaluating the parameters, I beg you to consider, using common sense, the most standard conditions possible.
Let us assume that our double-bass player, namely X, plays every day, for a standard number of hours and that he is averagely competent and experienced...

In choosing the strings I also tried to use types that were different in nature and in manufacture, thus offering a diverse and representative picture of the current market.
Many products necessarily had to be excluded from the final result.
The strings reviewed are:

• Corelli 370 tx
• Velvet Compas180 suit
• Thomastik Belcanto
• Pirastro Obligato
• Pirastro Original Flat.

In the hope that this might be a useful contribution to our great double-bass community, regards to all or, to put it in an Italian way, an Abbraccione…. or even better …an Arpeggione!

I am at anyone’s disposal for any objection, discussion and suggestion.

	Corelli 370 tx	Velvet Compas 180suit	Thomastik Belcanto	Pirastro Obligato	Pirastro Orig. Flat.
Tension Grade	Declared: G – 25.9 kg D - 27,3 kg A- 28,65 kg E- 28 kg Low tension.	Declared: Orchestra: 23kg per string. Solo: 29 kg per string. Very low and uniform tension.	Declared: G – 28,25 kg D- 28,75 kg A- 29,25 kg E- 28,75 kg. Medium low tension.	Declared: G – 28,4 kg D – 28,1 kg A – 28,3 kg E - 27,8 kg Medium low tension.	Not declared.Medium/high tension.
Vibratio response	Excellent. Exceptionally ready, also thanks to their small diameter and low tension.	Excellent, rewarding, difficult not to make them vibrate. The string's spindle is very wide… don’t keep the bridges too low!	Very good. The string vibrates properly. Although easy, it needs more weight, due to the diameter and the mass (more than the Corellis and similar...)	Very good. The string's spindle is wide. The string itself is soft enough, with no resistance, though its diameter is particularly large...	It is necessary to know how to make it vibrate. It is not one of the most immediate or easy. It needs weight on the bow, due to the tension being not very low and the diameter.
Bow Stimulation Response	Practically immediate. Extremely sensitive to stimulation, both positive and negative (you must be able to control them, otherwise you will need to get used to thin whistles and background noises…)	Ready, very easy to put into vibration. Easily controllable (they have more mass than the Corellis 370tx). Excellent control even in the ppp.	Very good, not only in the rapidity of response (which is good anyway), but in the ease of control. Beautiful dynamics excursion (from ppp to fff), though they are at their best in the fff. Silent: only plays what one has intentionally put it into vibration. Practically impossible to make it whistle.	Good. The string resounds well, though it does not appear particularly rapid in the response, probably due to its mass. It is not a "quick" string…	These are strings with a good expressive potential, but need to be found and controlled, especially in the ppp. Actually, they're extremely rewarding in the fff, where the string's resistance emerges with all its strength.
Feel to the touch	Very soft and flexible, very comfortable in their movements. Extremely easy for the left hand.	Extremely pleasing. The string's consistence gives the impression of playing on velvet. Comfortable and flexible movements.	Although flexible and easy, they appear more traditional and less agile than the Corellis or the Velvets. More solid and strong, with more mass.	Soft, but may be a bit too “rubbery”. The feeling is that of having under your fingers something synthetic and plastic. Especially in this case, one must follow one’s personal taste.	More traditional strings, with the classical Pirastro feel. They require a certain activity also from the left hand: they are not hard, but one must push them well against the fretboard.
Technical Features	G- nickel, D-A-E- covered in tungsten on a steel iron sound-post. It allows the use of thinner strings. The tungsten is very light, adding mass without becoming heavy.	Steel coated with silk-fibre sound-post. This is their main feature. Very flexible, in any occasion. It is necessary to stop them firmly with the left hand in order to avoid any further movement after pushing.	The calibre is more typical than the traditional strings. The sound-post is steel coated.	The sound-post of the string is made of synthetic fibre (no further details from the producer). The string's diameter appears to be higher than the average one. It vaguely recalls the response of the bowel, without the contra-indications of it.	Chromed steel on steel sound-post… Nothing particularly innovative or revolutionary. I'd say a string also more conventional technically than the others.
Timbre	It tends to be clear, clean and light. The sound is precise. It may appear not really suitable for the double-bass but more a cello-type, on clear or soft instruments.	Warm, involving, very interesting, not penetrating or sharp at all. They allow the instrument to play. The harmonics are great. There may be poor fundamentals and thus lack precision and definition, especially on dark instruments.	Dark, full, strong, defined enough and precise, with a vigorous character. Ideal for the orchestra. The pizzicatos are wonderfully full of shade and are soft.	Very dark, very warm, shaped; very few peaks of sound and very few high frequencies, this feature makes them poorly defined on instruments that are dark. They recall the response of gut.	Extremely rich and pleasing. The timbre qualities are the strongest feature of this string. The sound is rich in its harmonics, without particular frequency cuts. The low tones are beautifully dark that are precise and bright while the high notes and harmonics are present. The timbre is always solid and well directed, thanks to the string's resistance.
Volume	Notoriously not very resonant. They work well on tough and quite rigid instruments: when the harmonic level is free from too much tension, they sound more.	With a poor tension they free the instrument, therefore the greatest benefits can be seen with a tough instrument. In general, rather than a higher volume, I would speak of more air in the sound.	Very resonant strings, with a wide and defined volume. In accordance with Thomastik's philosophy of Spirocore, but with very different features.	Very resonant strings, with a good volume. They also work well on rarely played instruments or lower-quality models.	Excellent. Very resonant and with a great volume response. They are particularly good in the fff.
Installation	Easy, traditional.	Really difficult and laborious. They must be “knotted” to the tailpiece and the pegs. Pay close attention to the installation instructions otherwise they could break.	Easy, traditional.	Easy, traditional.	Easy, traditional.
Durability	Not very long-lasting: 9-12 months maximum.	Not very long-lasting and they are also particularly delicate. I'd say 1 year, if they don't break before…	Excellent. This is the strong point of the Thomastik house. I'd say 1 and a half year / 2 years.	Not very long-lasting. As time passes, they tend to unravel at the level of the bridge. 1 year more or less.	Very resistant. The iron makes the difference from the synthetic materials. Even 2 years with no problems.
Price	Between 125 and 140 euros.	Expensive. Between 180 and 230 euros.	Around 180 euros.	Around 130 euros.	Expensive: between 190 and 220 euros.
General comments	Suitable for whoever looks for a very comfortable and easy string, that flows well. Extremely easy for the left hand. Their best performance is on the bridge. Since their diameter is small, they require a certain precision for intonation and a special attention and control for bow movement results. Their particular "ease" allows performing virtuoso passages.	Their timbre is interesting and they're easy to play. The “Compas180 suit” can also be tuned for solo purposes, where they perform very well, remaining flexible. They may be a bit in tension with the orchestra tuning, but they are functional. Delicate and refined. Not really suitable for whoever likes to push. Also excellent for Baroque music and similar repertoires.	Ideal for the orchestra and for whoever looks for a full sound, a bit dark, with a great sound pressure. Although being easy, they need some weight on the right and some pressure on the left. They're not particularly suitable for acrobatics and agilities (unlike the Corellis...)	Ideal for whoever needs a very big and dark sound, that frequently recalls the bowel response, without the contraindications of the bowel (for example, the string supports tuning well). The tuning tolerance thread is very high for its features of timbre and calibre. It is suitable to compensate, in timbre, for "open" or very clear instruments.	Great richness of quality and timbre., it is in fact, the most expensive Pirastro string. They give nothing to those who cannot play with a good weight and cannot push into the string. Otherwise they are very gratifying. It is a precise, resonant and resistant string. Traditional. Typical sound of the best steel. They may seem hard on some instruments.

In any event, let's not forget that each double-bass deserves its proper strings…
…and that de gustibus non disputandum est…” (There is no accounting for taste)”

In total good faith,

Amin Zarrinchang.