PLAYING THE BASS IN FIFTHS

by Joel Quarrington

The other was the technology of string making and what pitches were achievable with
materials of the day. In this century we have made some sense of what was happening
pre-1850 with regard to the role of the Double bass.

Over the years various methods of realizing low C have come about:

· Tuning the bass in fifths (CGDA)

· Using a five string Double bass ((B)CEADG)

· Using mechanical devices (C extension)

· Tuning the bass a fourth lower (BEAD)

· Scordatura (de-tuning) of the bottom string

With regards to tuning in fifths, consider what Paul Brun wrote in his book[1] entitled
History of the Double Bass:

“Fifth tuning would be both logical and rational, were it not for the resulting fingering
difficulties, which had already caused its rejection at about the end of the 18th century. It
was tested again in 1895 by Viseur, a professor at the Paris Conservatory. Although he
succeeded in convincing several other bass players to take up this system of tuning, it was
once again abandoned soon after his death. In Germany, piano maker and Double bass
player Gustav Bushman attempted to reintroduce the bass in fifth tuning. In spite of
encouragement by Wagner, Von Bulow and Nikish, he had to give it up because of
fingering problems.

The technical difficulties linked with the fifth tuning are of less importance for jazz
musicians, who have no printed art to follow. This is why it is sometimes used by jazz
bassists, such as the American Red Mitchell, who explains in a Newsletter of the
International Society of Bassists that he finally settled on this system because it seemed
the most natural solution to the problem of obtaining low C without the awkwardness of
an extension or a five-string instrument. According to him, the fifth tuning makes it easier
to play certain double stops such as tenths at the expanse of losing some ease of playing
in the smaller intervals (seconds and thirds in particular). Scale passages tend to be played
up the strings, and this tuning facilitates open positions triads.”

Italian virtuoso Isaia Bille found this system “more sonorous, ampler in its vibrations and
more perfect in its acoustic and didactic proceeding” than the EADG type of bass. He
rejected its use, however, owing to the frequent left-hand shifting it caused.

Mr. Bille certainly had the right appreciation of fifths, but with all due respect, he was
wrong about the “frequent left-hand shifting.” In theory, it is natural to assume this to be
the case as a player in fifths becomes much more sensitive to the keys works are played
in, however the reality seems to be a slight increase in shifting that in my opinion does
not make “frequent left-hand shifting” a reason to not play in fifths. I will grant this
though: to play in fifths requires a solidly developed technique. A player who uses a rigid
fingering system “a la Simandl” for instance, would find the difficulties overwhelming at
times and injury a very real threat. An ability to play in all positions and strings of the
instrument would be a definite advantage!

Fingering solutions are a fascinating aspect of fifth tuning and sometimes call for clear
lateral thinking that can be rewarding and somewhat amusing because the answer might
be so far removed from anything you were ever taught! I would like to mention that
although I did start out in this tuning in order to obtain a low C, it is not the reason I
continued after I learned how difficult it would be to re-learn everything I knew. (Indeed,
re-learning how to read music was the most difficult part. I play everything at pitch now.)
No, the reason I continued was that for the first time in my career, I understood the
intonation of the other instruments in the orchestra and the other stringed instruments in
particular. I suppose I had always tried to play a sort of “tempered” intonation, especially
with piano, but suddenly I had an instrument whose intonation is determined by harmonic
function and response to itself, and a whole new world of intonation opened up to me.

There are many ways to acquire strings for fifths tuning and several companies offer
dedicated sets. Pirastro has the “Obligato” brand sets for fifths as well as the Eudoxa gut
strings.

Gerold Gennsler of Berlin hand makes sets for fifths as does the company “Innovation”;
both have found loyal users.

Thomastik has the “Red Mitchell” set, which are “Spirocore” strings and particularly
suited to pizzicato although the bottom two from this set function pretty well in an
orchestra setting. They have released an “extra long version” which is better for the
bottom two strings. I have used a mix of “Belcantos” as well and they offer a warm, soft
sound.

Since they were first introduced in the early eighties, I have enjoyed Dominant strings
from Thomastik.

They take a long “break in” period (1-2 weeks) and they don’t like being tuned up and
down very well so breakage is a problem especially on the top string.
I still enjoy using “Dominants” for the top two with two Eudoxa or Red Mitchell’s on the
bottom two. Eudoxas deliver warm, clear articulate sounds but are expensive and they
don’t seem to have a long life. They feel wonderful under the bow. The Red Mitchell’s
allow you to use the string in higher positions so I think they are better for some solo
repertoire. Very often I will use the Dominant solo F# tuned up to a G for my 3rd string;
very powerful in the orchestra!

One can mix and match from different companies and this often is fine so you will need:

· 1st- (A) 1st from solo set

· 2nd- (D) 2nd from orch set

· 3rd- (G) 4th! from solo set (F#)

· 4th- (C) 5th! from orch set

I don’t find tuning the 3rd, (A) down to a G very rewarding, and the Spirocore C’s are
definitely more friendly as “light” or ‘weich” as they say in Vienna.