CONTRABASSI  . ,-.1 _+ —etc . These opening bars are played See also:

• SOLI
• SOLI (mod. Mezetlii)

soli by 'cellos and See also:

• DOUBLE
• DOUBLE (from the Mid. Eng. duble, the form which gives the present pronunciation, through the Old Er. duble, from Lat. duplus, twice as much)

double basses, a daring innovation of See also:

• BEETHOVEN, LUDWIG VAN (1770-1827)

Beethoven's which caused quite a consternation at first in musical circles . The remote origin of the double See also:

• BASS
• BASS (the same word as " base," and so pronounced, but influenced in spelling by the Ital. basso)

bass is the same as that of the See also:

• VIOLIN

violin .3 It was evolved from the bass See also:

• VIOL

viol; whether the trans-formation took See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place simultaneously with that of the violin from the See also:

• TREBLE (a doublet of " triple," three-fold, from Lat. triplus, triple; cf. " double " from duplus)

treble viol or preceded it, has not been definitely proved, but both Gasparo da Salo and Maggini constructed double basses, which were in See also:

• GREAT

great See also:

• REQUEST, LETTERS OF

request in the churches . De Salo made one with three strings for St See also:

• MARK
• MARK, CARL (1858– )
• MARK, GOSPEL OF ST
• MARK, ST

Mark's, See also:

• VENICE
• VENICE (continued)
• VENICE (Venezia)

Venice, which is still preserved there .4 It was See also:

• DRAGONETTI, DOMENICO (1763-1846)

Dragonetti's favourite See also:

• CONCERT (through the French from Lat. con-, with, and certare, to strive)

concert See also:

• INSTRUMENT (Lat. instrumentum, from insincere, to build up, furnish, arrange, prepare)

instrument, presented to him by the monks of St Mark, and, according to the See also:

• DESIRE

desire expressed in his will, the instrument was restored after his See also:

• DEATH

death to St Mark's, where it is at See also:

• PRESENT

present preserved . Dragonetti used a straight See also:

• BOW (pronounced " bo ")

bow similar to the See also:

• VIOLONCELLO (Fr. violoncelle, Ger. Violoncell, Ital. violoncello)

violoncello bow, held overhand with the See also:

• HAIR (a word common to Teutonic languages)

hair slanting towards the See also:

• NECK (O. Eng. hnecca; the word appears in many Teutonic languages; cf. Dutch ride, Ger. Nacken; in O. E. the common word was heals; cf. Ger. Hals)

neck of the instrument; it 2 The Double Bass (See also:

• NOVELLO, VINCENT (1781-1861)

Novello, See also:

• MUSIC

Music Primers, No . 32), p . 6 . ' See Kathleen Schlesinger, The See also:

• INSTRUMENTS

Instruments of the See also:

• ORCHESTRA (Fr. Orchestre; Ger. Kapelle, Orchester; Ital. Orchestra)

Orchestra, See also:

• PART

Part II . " The Precursors of the Violin See also:

• FAMILY

Family " (1908-1909) . See See also:

• LAURENT, FRANCOIS (1810–1887)

Laurent Grillet, See also:

• LES

Les Ancetres du violon et du violoncelle (See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris, 1901), tome ii. p . 159; IWillebald See also:

• LEO
• LEO (THE LION)
• LEO, BROTHER (d. c. 1270)
• LEO, HEINRICH (1799-1878)
• LEO, JOHANNES (c. 1494-1552)
• LEO, LEONARDO (1694–1744)

Leo von Lustgendorff, See also:

• DIE
• DIE (Fr. de, from Lat. datum, given)

Die Geigen and Lautenmacher vom Mittelalter bis zur Gegenwart (Frankfurt a .

M., 1904), p . 50; A . C . See also:

• WHITE
• WHITE, ANDREW DICKSON (1832– )
• WHITE, GILBERT (1720–1793)
• WHITE, HENRY KIRKE (1785-1806)
• WHITE, HUGH LAWSON (1773-1840)
• WHITE, JOSEPH BLANCO (1775-1841)
• WHITE, RICHARD GRANT (1822-1885)
• WHITE, ROBERT (1645-1704)
• WHITE, SIR GEORGE STUART (1835– )
• WHITE, SIR THOMAS (1492-1567)
• WHITE, SIR WILLIAM ARTHUR (1824--1891)
• WHITE, SIR WILLIAM HENRY (1845– )
• WHITE, THOMAS (1628-1698)
• WHITE, THOMAS (c. 1550-1624)

White, The Double Bass, p . 8 . was introduced into See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England from Paris, and is a favourite with orchestral players . See also:

• PRAETORIUS, MICHAEL (1571_1621)

Praetorius gives an See also:

• ILLUSTRATION

illustration of a sub-bass viol da gamba or See also:

• GROSS

gross contra-bass geige1 "recently constructed," which displaced the other large contra-bass viols; of which he also gives an illustration.2 Giovanni See also:

• BOTTESINI, GIOVANNI (1823–1889)

Bottesini (1822–1889) was the greatest virtuoso on the double bass that the See also:

• WORLD

world has ever known . It was not only the perfection of his technique and See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone which won him See also:

• ARTISTIC

artistic fame, but also the delicacy of his See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style and his exquisite See also:

• TASTE (from Lat. taxare, to touch sharply; tangere, to touch)

taste in phrasing . (K .