- Aug 1, 2005
- 3,546
- 1,421
- Disclosures
- Private Inventor - Bass Capos
I finally got around to translating this article from Invalid Link Removed. Starting on page 4, it describes Poike and Glaesel's invention of the first keyed extension, as well as descriptions of other solutions to the low E problem.
Note: I use the term "translate" loosely. I did a text scan and google translate, and only edited lightly. German is hard to translate to English. If anyone wants to take a stab at it, I'll be happy to forward the text file. As it stands, I think it's a fun look into the journalistic language of the day.
The double bass in the orchestra
with respect to its range
A critical sketch of a chamber musician Paul Pictsch, Berlin
The problem, to extend the depth of range of the double bass, has lately again become topical.
From time immemorial, the bassists feel a great nausea that the bass ends with contra - E. They were assisted in earlier times in that one in some cases tuned below E, down to C.
This lowering of voices for technical reasons was not advantageous, because the execution of faster passages encounters unsolvable difficulties. Furthermore, the sounds contra-F, - F # - G - G # in the higher elevations were often voiced unclean; especially at Transitions of the A string on the low C string.
The first attempt from the Leipzig bassist Otto of a five-string bass also did not bring the right solution of the problem. Because first you could load only a few very large instruments (with the extra string). Then by adding a fifth string one induced a broadening of the web, as well as the fingerboard end and thus the neck the game became uncomfortable and cumbersome. In addition, the rounding of the bridge prevents any of the five strings to extend sufficiently high and free to allow each individual one to be freely attacked.
More recently, the idea emerged, one or two Introduced a tripartite division of the double basses in the orchestra: In such that half of the double basses have the now commonly used mood E, A, D, G and the other half tune H, E, A, D is true - possibly to
to win for the deep bass of sonority, the D-string can be eliminated and therefore only three-stringed, H, E, A tuned instruments used. Frederick Warnecke (Hamburg) has suggested the range up smaller, tuned by adding to A, D, G, C
Double Bass (flat baritone) to expand.
The solution would not be amiss if the eligible agencies could decide the number of double-bass players in the orchestra to double, respectively to triple in three parts. For that, the double bassist, the one on H, E, A voted three-stringed bass playing, can not be expected to execute at the higher places - in respect to the upward range into the modern orchestra literature. It would be an Impossible demand.
It would BE DONE for these proposals division always cause a part of the section, which would have the consequence of the unity of phrasing, Example legato when changing the players, respectively, to the locations where a part of the player of the other
the continuation of a phrase or a character takes over, would suffer. In addition, the double bass register would in lose the higher elevations in splendor and power and Forte points do not penetrate the full orchestra, if not to supply the number of bassists in accordance multiplied.
Since it is tentatively relevant for financial reasons, and not least because of the space issue, to one; not duplicate existing occupation of the double basses will be due, these proposals are likely in the foreseeable future probably out of the question. As far the best solution to the problem, the double bass expand C - in the range down to contra and still have an instrument with all requirements sufficient to the needs of Kammervirtuose Max Poike - (Berlin), who in association with the musical instrument maker Ludwig GlaeseI Jr. (Markneukirchen). constructed Contra - C - mechanic. In this direction only the E string is altered (four-string bass) in such that a strip of the fingerboard is extended to C; on this extension are the notes under the F means of keys used. Usually, the E remains Button closed and serves as a saddle for the E string, which by a locking lever by means of a convenient Thumb grip calibrates! When needing notes lying below the Contra-e sound, with the first finger the E button depressed and with the second finger by pressure on the E key, the action of the locking lever silently released. The Contra-C tuner is no big deal to install. The instrument bears no greater burden from the mechanics than before.
Since the expansion of the tonal range by C-Extension happens on the E string, it requires a particularly fine and strong C -string, but a moderately strong E string of the appropriate length is sufficient. Therefore has also because since 1897 the Poike - Glaesel's invention in almost all first opera and concert orchestras in the world as the simplest and up; now best solution of this important problem solved.
Note: I use the term "translate" loosely. I did a text scan and google translate, and only edited lightly. German is hard to translate to English. If anyone wants to take a stab at it, I'll be happy to forward the text file. As it stands, I think it's a fun look into the journalistic language of the day.
The double bass in the orchestra
with respect to its range
A critical sketch of a chamber musician Paul Pictsch, Berlin
The problem, to extend the depth of range of the double bass, has lately again become topical.
From time immemorial, the bassists feel a great nausea that the bass ends with contra - E. They were assisted in earlier times in that one in some cases tuned below E, down to C.
This lowering of voices for technical reasons was not advantageous, because the execution of faster passages encounters unsolvable difficulties. Furthermore, the sounds contra-F, - F # - G - G # in the higher elevations were often voiced unclean; especially at Transitions of the A string on the low C string.
The first attempt from the Leipzig bassist Otto of a five-string bass also did not bring the right solution of the problem. Because first you could load only a few very large instruments (with the extra string). Then by adding a fifth string one induced a broadening of the web, as well as the fingerboard end and thus the neck the game became uncomfortable and cumbersome. In addition, the rounding of the bridge prevents any of the five strings to extend sufficiently high and free to allow each individual one to be freely attacked.
More recently, the idea emerged, one or two Introduced a tripartite division of the double basses in the orchestra: In such that half of the double basses have the now commonly used mood E, A, D, G and the other half tune H, E, A, D is true - possibly to
to win for the deep bass of sonority, the D-string can be eliminated and therefore only three-stringed, H, E, A tuned instruments used. Frederick Warnecke (Hamburg) has suggested the range up smaller, tuned by adding to A, D, G, C
Double Bass (flat baritone) to expand.
The solution would not be amiss if the eligible agencies could decide the number of double-bass players in the orchestra to double, respectively to triple in three parts. For that, the double bassist, the one on H, E, A voted three-stringed bass playing, can not be expected to execute at the higher places - in respect to the upward range into the modern orchestra literature. It would be an Impossible demand.
It would BE DONE for these proposals division always cause a part of the section, which would have the consequence of the unity of phrasing, Example legato when changing the players, respectively, to the locations where a part of the player of the other
the continuation of a phrase or a character takes over, would suffer. In addition, the double bass register would in lose the higher elevations in splendor and power and Forte points do not penetrate the full orchestra, if not to supply the number of bassists in accordance multiplied.
Since it is tentatively relevant for financial reasons, and not least because of the space issue, to one; not duplicate existing occupation of the double basses will be due, these proposals are likely in the foreseeable future probably out of the question. As far the best solution to the problem, the double bass expand C - in the range down to contra and still have an instrument with all requirements sufficient to the needs of Kammervirtuose Max Poike - (Berlin), who in association with the musical instrument maker Ludwig GlaeseI Jr. (Markneukirchen). constructed Contra - C - mechanic. In this direction only the E string is altered (four-string bass) in such that a strip of the fingerboard is extended to C; on this extension are the notes under the F means of keys used. Usually, the E remains Button closed and serves as a saddle for the E string, which by a locking lever by means of a convenient Thumb grip calibrates! When needing notes lying below the Contra-e sound, with the first finger the E button depressed and with the second finger by pressure on the E key, the action of the locking lever silently released. The Contra-C tuner is no big deal to install. The instrument bears no greater burden from the mechanics than before.
Since the expansion of the tonal range by C-Extension happens on the E string, it requires a particularly fine and strong C -string, but a moderately strong E string of the appropriate length is sufficient. Therefore has also because since 1897 the Poike - Glaesel's invention in almost all first opera and concert orchestras in the world as the simplest and up; now best solution of this important problem solved.
Last edited:
