Editing Double bass (section)

==Classical repertoire==

===Solo works for double bass===

====1700s====
The double bass as a solo instrument enjoyed a period of popularity during the 18th century and many of the most popular composers from that era wrote pieces for the double bass. The double bass, then often referred to as the [[Violone]], used different tunings from region to region. The "Viennese tuning" (A<sub>1</sub>–D<sub>2</sub>–F{{music|sharp}}<sub>2</sub>–A<sub>2</sub>) was popular, and in some cases a fifth string or even sixth string was added (F<sub>1</sub>–A<sub>1</sub>–D<sub>2</sub>–F{{music|sharp}}<sub>2</sub>–A<sub>2</sub>).<ref>David Chapman. "Historical and Practical Considerations for the Tuning of Double Bass Instruments in Fourths" – p.228–229, ''The Galpin Society Journal'', Vol. 56, (June 2003), pp. 224–233.</ref> The popularity of the instrument is documented in [[Leopold Mozart]]'s second edition of his Violinschule, where he writes "One can bring forth difficult passages easier with the five-string violone, and I heard unusually beautiful performances of concertos, trios, solos, etc."
[[File:Domenico_Dragonetti_1843.jpg|thumb|The Italian bass virtuoso [[Domenico Dragonetti]] helped to encourage composers to give more difficult parts for his instrument.]]

The earliest known concerto for double bass was written by [[Joseph Haydn]] {{circa}}1763, and is presumed lost in a fire at the Eisenstadt library. The earliest known existing concertos are by [[Carl Ditters von Dittersdorf]], who composed two concertos for the double bass and a [[Sinfonia concertante|Sinfonia Concertante]] for viola and double bass. Other composers that have written concertos from this period include [[Johann Baptist Wanhal]], [[Franz Anton Hoffmeister]] (3 concertos), [[Leopold Kozeluch]], [[Anton Zimmermann]], [[Antonio Capuzzi]], [[Wenzel Pichl]] (2 concertos), and [[Johannes Matthias Sperger]] (18 concertos). While many of these names were leading figures to the music public of their time, they are generally unknown by contemporary audiences. [[Wolfgang Amadeus Mozart]]'s concert aria, ''[[Per questa bella mano]]'', K.612 for bass, double bass [[obbligato]], and orchestra contains impressive writing for solo double bass of that period. It remains popular among both singers and double bassists today.

The double bass eventually evolved to fit the needs of orchestras that required lower notes and a louder sound. The leading double bassists from the mid-to-late 18th century, such as Josef Kämpfer, Friedrich Pischelberger, and Johannes Mathias Sperger employed the "Viennese" tuning. Bassist Johann Hindle (1792–1862), who composed a concerto for the double bass, pioneered tuning the bass in fourths, which marked a turning point for the double bass and its role in solo works. Bassist [[Domenico Dragonetti]] was a prominent musical figure and an acquaintance of Haydn and [[Ludwig van Beethoven]]. His playing was known all the way from his homeland, Italy, to the Tsardom of Russia and he found a prominent place performing in concerts with the [[Philharmonic Society of London]]. Beethoven's friendship with Dragonetti may have inspired him to write difficult, separate parts for the double bass in his symphonies, such as the impressive passages in the third movement of the Fifth Symphony, the second movement of the Seventh Symphony, and last movement of the Ninth Symphony. These parts do not double the cello part.

Dragonetti wrote ten concertos for the double bass and many solo works for bass and piano. During [[Rossini]]'s stay in London in the summer of 1824, he composed his popular Duetto for cello and double bass for Dragonetti and the cellist David Salomons. Dragonetti frequently played on a three string double bass tuned G–D–A from top to bottom. The use of only the top three strings was popular for bass soloists and principal bassists in orchestras in the 19th century, because it reduced the pressure on the wooden top of the bass, which was thought to create a more resonant sound. As well, the low E-strings used during the 19th century were thick cords made of gut, which were difficult to tune and play.

====1800s====
[[File:BottesiniTestore.jpg|thumb|right|upright=0.7|The virtuoso nineteenth-century bassist and composer Giovanni Bottesini with his 1716 Carlo Antonio Testore bass]]
In the 19th century, the opera conductor, composer, and bassist [[Giovanni Bottesini]] was considered the "[[Niccolò Paganini|Paganini]] of the double bass" of his time, a reference to the violin virtuoso and composer. Bottesini's bass [[concerto]]s were written in the popular Italian [[opera]] style of the 19th century, which exploit the double bass in a way that was not seen beforehand. They require virtuosic runs and great leaps to the highest registers of the instrument, even into the realm of natural and [[artificial harmonic]]s. Many 19th century and early 20th century bassists considered these compositions unplayable, but in the 2000s, they are frequently performed. During the same time, a prominent school of bass players in the [[Czech lands|Czech region]] arose, which included Franz Simandl, Theodore Albin Findeisen, Josef Hrabe, [[Ludwig Manoly]], and [[Adolf Mišek]]. Simandl and Hrabe were also pedagogues whose method books and studies remain in use in the 2000s.

====1900s–present====
The leading figure of the double bass in the early 20th century was [[Serge Koussevitzky]], best known as conductor of the [[Boston Symphony Orchestra]], who popularized the double bass in modern times as a solo instrument. Because of improvements to the double bass with steel strings and better set-ups, the bass is now played at a more advanced level than ever before and more and more composers have written works for the double bass. In the mid-century and in the following decades, many new concerti were written for the double bass, including [[Nikos Skalkottas]]'s Concerto (1942), [[Eduard Tubin]]'s Concerto (1948), [[Lars-Erik Larsson]]'s Concertino (1957), [[Gunther Schuller]]'s Concerto (1962), [[Hans Werner Henze]]'s Concerto (1966) and [[Frank Proto]]'s Concerto No. 1 (1968).

The ''Solo For Contrabass'' is one of the parts of [[John Cage]]'s ''Concert For Piano And Orchestra'' and can be played as a solo, or with any of the other parts both orchestral and/or piano.  Similarly, his solo contrabass parts for the orchestral work ''Atlas Eclipticalis'' can also be performed as solos.  Cage's indeterminate works such as ''Variations I'', ''Variations II'', ''Fontana Mix'', ''Cartridge Music'' et al. can be arranged for a solo contrabassist.  His work ''26.1.1499 for a String Player'' is often realized by a solo contrabass player, although it can also be played by a violinist, violist, or cellist.

From the 1960s through the end of the century [[Gary Karr]] was the leading proponent of the double bass as a solo instrument and was active in commissioning or having hundreds of new works and concerti written especially for him. Karr was given Koussevitzky's famous solo double bass by Olga Koussevitsky and played it in concerts around the world for 40 years before, in turn, giving the instrument to the [[International Society of Bassists]] for talented soloists to use in concert. Another important performer in this period, [[Bertram Turetzky]], commissioned and premiered more than 300 double bass works.

[[File:Sergei Koussevitsky.jpg|thumb|upright=1.1|[[Serge Koussevitzky]] popularized the double bass in modern times as a solo instrument.]]

In the 1970s, 1980 and 1990s, new concerti included [[Nino Rota]]'s ''Divertimento for Double Bass and Orchestra'' (1973), [[Alan Ridout]]'s concerto for double bass and strings (1974), [[Jean Françaix]]'s Concerto (1975), [[Frank Proto]]'s Concerto No.&nbsp;2, [[Einojuhani Rautavaara]]'s ''Angel of Dusk'' (1980), [[Gian Carlo Menotti]]'s Concerto (1983), [[Christopher Rouse (composer)|Christopher Rouse]]'s Concerto (1985), [[Henry Brant]]'s Ghost Nets (1988) and Frank Proto's "Carmen Fantasy for Double Bass and Orchestra" (1991) and "Four Scenes after Picasso" Concerto No.&nbsp;3 (1997). [[Peter Maxwell Davies]]' lyrical [[Strathclyde Concerto]] No.&nbsp;7, for double bass and orchestra, dates from 1992.

In the first decade of the 21st century, new concerti include Frank Proto's "Nine Variants on Paganini" (2002), [[Kalevi Aho]]'s Concerto (2005), [[John Harbison]]'s ''Concerto for Bass Viol'' (2006), [[André Previn]]'s Double Concerto for violin, double bass, and orchestra (2007) and [[John Woolrich]]'s ''To the Silver Bow'', for double bass, viola and strings (2014).

[[Reinhold Glière]] wrote an Intermezzo and Tarantella for double bass and piano, Op.&nbsp;9, No.&nbsp;1 and No.&nbsp;2 and a Praeludium and Scherzo for double bass and piano, Op.&nbsp;32 No.&nbsp;1 and No.&nbsp;2. [[Paul Hindemith]] wrote a rhythmically challenging Double Bass Sonata in 1949. Frank Proto wrote his Sonata "1963" for Double Bass and Piano. In the Soviet Union, [[Mieczysław Weinberg]] wrote his Sonata No.&nbsp;1 for double bass solo in 1971. [[Giacinto Scelsi]] wrote two double bass pieces called ''Nuits'' in 1972, and then in 1976, he wrote ''Maknongan'', a piece for any low-voiced instrument, such as double bass, contrabassoon, or tuba. [[Vincent Persichetti]] wrote solo works—which he called "Parables"—for many instruments. He wrote Parable XVII for Double Bass, Op.&nbsp;131 in 1974. [[Sofia Gubaidulina]] penned a Sonata for double bass and piano in 1975.  In 1976 American minimalist composer [[Tom Johnson (composer)|Tom Johnson]] wrote "Failing – a very difficult piece for solo string bass" in which the player has to perform an extremely virtuosic solo on the bass whilst simultaneously reciting a text which says how very difficult the piece is and how unlikely he or she is to successfully complete the performance without making a mistake.

In 1977 Dutch-Hungarian composer [[Géza Frid]] wrote a set of variations on The Elephant from [[Saint-Saëns]]' ''[[Le Carnaval des Animaux]]'' for [[scordatura]] double bass and string orchestra. In 1987 [[Lowell Liebermann]] wrote his Sonata for Contrabass and Piano Op.&nbsp;24. Fernando Grillo wrote the "Suite No.&nbsp;1" for double bass (1983/2005). [[Jacob Druckman]] wrote a piece for solo double bass entitled ''Valentine''. US double bass soloist and composer [[Bertram Turetzky]] (born 1933) has performed and recorded more than 300 pieces written by and for him. He writes chamber music, baroque music, classical, jazz, renaissance music, improvisational music and world music

US minimalist composer [[Philip Glass]] wrote a prelude focused on the lower register that he scored for timpani and double bass. Italian composer [[Sylvano Bussotti]], whose composing career spans from the 1930s to the first decade of the 21st century, wrote a solo work for bass in 1983 entitled ''Naked Angel Face per contrabbasso''. Fellow Italian composer [[Franco Donatoni]] wrote a piece called ''Lem for contrabbasso'' in the same year. In 1989, French composer [[Pascal Dusapin]] (born 1955) wrote a solo piece called ''In et Out'' for double bass. In 1996, the Sorbonne-trained Lebanese composer [[Karim Haddad]] composed ''Ce qui dort dans l'ombre sacrée'' ("He who sleeps in the sacred shadows") for Radio France's Presence Festival. [[Renaud Garcia-Fons]] (born 1962) is a French double bass player and composer, notable for drawing on jazz, folk, and Asian music for recordings of his pieces like ''Oriental Bass'' (1997).

Two significant recent works written for solo bass include, [[Mario Davidovsky]]'s Synchronisms No.11 for double bass and electronic sounds and [[Elliott Carter]]'s Figment III, for solo double bass. The German composer [[Gerhard Stäbler]] wrote ''Co-wie Kobalt'' (1989–90), "...a music for double bass solo and grand orchestra". [[Charles Wuorinen]] added several important works to the repertoire, ''Spinoff'' trio for double bass, violin and conga drums, and ''Trio for Bass Instruments'' double bass, tuba and bass trombone, and in 2007 ''Synaxis'' for double bass, horn, oboe and clarinet with timpani and strings. The suite "Seven Screen Shots" for double bass and piano (2005) by Ukrainian composer [[Alexander Shchetynsky]] has a solo bass part that includes many unconventional methods of playing. The German composer [[Claus Kühnl]] wrote ''Offene Weite / Open Expanse'' (1998) and ''Nachtschwarzes Meer, ringsum…'' (2005) for double bass and piano.In 1997 [[Joel Quarrington]] commissioned the American / Canadian composer [[Raymond Luedeke]] to write his "Concerto for Double Bass and Orchestra", a piece he performed with the [[Toronto Symphony Orchestra]], with the [[Saskatoon Symphony Orchestra]], and, in a version for small orchestra, with the [[Nova Scotia Symphony Orchestra]].<ref>Hume, Christopher. "And this bass stands alone"
 [http://pqasb.pqarchiver.com/thestar/advancedsearch.html ''The Toronto Star''] {{Webarchive|url=https://web.archive.org/web/20180407075855/http://pqasb.pqarchiver.com/thestar/advancedsearch.html |date=7 April 2018 }}. Toronto, 10 November 1997. Retrieved on 5 November 2018.</ref> Composer Raymond Luedeke also composed a work for double bass, flute, and viola with narration, "The Book of Questions", with text by [[Pablo Neruda]].<ref>{{cite web|url=https://www.youtube.com/watch?v=N7z-ThFhszs&list=PL8PlV2646b96TjWjf2d3QflonLzLpoq| archive-url=https://ghostarchive.org/varchive/youtube/20211030/N7z-ThFhszs| archive-date=2021-10-30|title=The Book of Questions| website=[[YouTube]]}}{{cbignore}}</ref>

In 2004 Italian double bassist and composer [[Stefano Scodanibbio]] made a double bass arrangement of [[Luciano Berio]]'s 2002 solo cello work ''[[Sequenza XIV]]'' with the new title ''Sequenza XIVb''.

===Chamber music with double bass===
Since there is no established instrumental ensemble that includes the double bass, its use in chamber music has not been as exhaustive as the literature for ensembles such as the [[string quartet]] or [[piano trio]]. Despite this, there is a substantial number of [https://web.archive.org/web/20161003155641/http://www.paulnemeth.com/basschamber.htm chamber works] that incorporate the double bass in both small and large ensembles.

There is a small body of works written for [[piano quintet]] with the instrumentation of piano, violin, viola, cello, and double bass. The most famous is [[Franz Schubert]]'s Piano Quintet in A major, known as "The [[Trout Quintet]]" for its set of variations in the fourth movement of Schubert's ''[[Die Forelle]]''. Other works for this instrumentation written from roughly the same period include those by [[Johann Nepomuk Hummel]], [[George Onslow (composer)|George Onslow]], [[Jan Ladislav Dussek]], [[Louise Farrenc]], [[Ferdinand Ries]], [[Franz Limmer]], [[Johann Baptist Cramer]], and [[Hermann Goetz]]. Later composers who wrote chamber works for this quintet include [[Ralph Vaughan Williams]], [[Colin Matthews]], [[Jon Deak]], Frank Proto, and [[John Woolrich]]. Slightly larger sextets written for piano, string quartet, and double bass have been written by [[Felix Mendelssohn]], [[Mikhail Glinka]], [[Richard Wernick]], and [[Charles Ives]].

In the genre of string quintets, there are a few works for string quartet with double bass. [[Antonín Dvořák]]'s String Quintet in G major, Op.77 and [[Wolfgang Amadeus Mozart]]'s Serenade in G major, K.525 ("[[Eine kleine Nachtmusik]]") are the most popular pieces in this repertoire, along with works by [[Miguel del Águila]] (''Nostalgica'' for string quartet and bass), [[Darius Milhaud]], [[Luigi Boccherini]] (3 quintets), [[Harold Shapero]], and [[Paul Hindemith]]. Another example is Alistair Hinton's String Quintet (1969–77), which also includes a major part for solo soprano; at almost 170 minutes in duration, it is almost certainly the largest such work in the repertoire.

Slightly smaller string works with the double bass include six string sonatas by [[Gioachino Rossini]], for two violins, cello, and double bass written at the age of twelve over the course of three days in 1804. These remain his most famous instrumental works and have also been adapted for wind quartet. Rossini and Dragonetti composed duos for cello and double bass, as did [[Johannes Matthias Sperger]], a major soloist on the "Viennese" tuning instrument of the 18th century. [[Franz Anton Hoffmeister]] wrote four String Quartets for Solo Double Bass, Violin, Viola, and Cello in D Major. Frank Proto has written a Trio for Violin, Viola and Double Bass (1974), 2 Duos for Violin and Double Bass (1967 and 2005), and ''The Games of October'' for Oboe/English Horn and Double Bass (1991).

Larger works that incorporate the double bass include [[Beethoven]]'s Septet in E{{music|flat}} major, Op.&nbsp;20, one of his most famous pieces during his lifetime, which consists of clarinet, horn, bassoon, violin, viola, cello, and bass. When the clarinetist [[Ferdinand Troyer]] commissioned a work from [[Franz Schubert]] for similar forces, he added one more violin for his Octet in F major, D.803. [[Paul Hindemith]] used the same instrumentation as Schubert for his own Octet. In the realm of even larger works, Mozart included the double bass in addition to 12 wind instruments for his "[[Gran Partita]]" Serenade, K.361 and [[Bohuslav Martinů|Martinů]] used the double bass in his [[nonet (music)|nonet]] for wind quintet, violin, viola, cello and double bass.

Other examples of chamber works that use the double bass in mixed ensembles include [[Sergei Prokofiev]]'s Quintet in G minor, Op.&nbsp;39 for oboe, clarinet, violin, viola, and double bass; [[Miguel del Águila]]'s ''Malambo'' for bass flute and piano and for string quartet, bass and bassoon; [[Erwin Schulhoff]]'s Concertino for flute/piccolo, viola, and double bass; Frank Proto's ''Afro-American Fragments'' for bass clarinet, cello, double bass and narrator and Sextet for clarinet and strings; [[Fred Lerdahl]]'s Waltzes for violin, viola, cello, and double bass; [[Mohammed Fairouz]]'s Litany for double bass and wind quartet; [[Mario Davidovsky]]'s Festino for guitar, viola, cello, and double bass; and [[Iannis Xenakis]]'s Morsima-Amorsima for piano, violin, cello, and double bass. There are also new music ensembles that utilize the double bass such as Time for Three and [[PROJECT Trio]].

===Orchestral passages and solos===
A double bass section of a modern [[orchestra]] typically uses eight double bassists, usually in [[unison]]. Smaller orchestras may have four double basses, and in exceptional cases, bass sections may have as many as ten members. If some double bassists have low C extensions, and some have regular (low E) basses, those with the low C extensions may play some passages an octave below the regular double basses. Also, some composers write divided (divisi) parts for the basses, where upper and lower parts in the music are often assigned to "outside" (nearer the audience) and "inside" players. Composers writing divisi parts for bass often write [[perfect interval]]s, such as octaves and fifths, but in some cases use thirds and sixths.
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Where a composition calls for a solo bass part, the principal bass invariably plays that part. The section leader (or principal) also determines the bowings, often based on bowings set out by the concertmaster. In some cases, the principal bass may use a slightly different bowing than the concertmaster, to accommodate the requirements of playing bass. The principal bass also leads entrances for the bass section, typically by lifting the bow or plucking hand before the entrance or indicating the entrance with the head, to ensure the section starts together. Major professional orchestras typically have an assistant principal bass player, who plays solos and leads the bass section if the principal is absent.

While orchestral bass solos are somewhat rare, there are some notable examples. [[Johannes Brahms]], whose father was a double bass player, wrote many difficult and prominent parts for the double bass in his symphonies. [[Richard Strauss]] assigned the double bass daring parts, and his symphonic poems and operas stretch the instrument to its limits. "The Elephant" from [[Camille Saint-Saëns]]' ''[[The Carnival of the Animals]]'' is a satirical portrait of the double bass, and American virtuoso [[Gary Karr]] made his televised debut playing "The Swan" (originally written for the cello) with the [[New York Philharmonic]] conducted by [[Leonard Bernstein]]. The third movement of [[Gustav Mahler]]'s [[Symphony No. 1 (Mahler)|first symphony]] features a solo for the double bass that quotes the children's song ''Frere Jacques'', transposed into a minor key. [[Sergei Prokofiev]]'s ''[[Lieutenant Kijé (Prokofiev)|Lieutenant Kijé]] Suite'' features a difficult and very high double bass solo in the "Romance" movement. [[Benjamin Britten]]'s ''[[The Young Person's Guide to the Orchestra]]'' contains a prominent passage for the double bass section.

===Double bass ensembles===
Ensembles made up entirely of double basses, though relatively rare, also exist, and several composers have written or arranged for such ensembles. Compositions for four double basses exist by [[Gunther Schuller]], [[Jacob Druckman]], [[James Tenney]], [[Claus Kühnl]], Robert Ceely, [http://www.janalm.se/ Jan Alm], Bernhard Alt, Norman Ludwin, Frank Proto, Joseph Lauber, [[Erich Hartmann (musician)|Erich Hartmann]], [[Colin Brumby]], Miloslav Gajdos and Theodore Albin Findeisen. [[David A. Jaffe]]'s "Who's on First?",<ref>{{cite web|url=http://davidjaffesite.squarespace.com/music/whos-on-first.html|title=Who's on First? for five double-basses|publisher=Terra Non Firma Press|access-date=22 March 2014|archive-url=https://web.archive.org/web/20150402105957/http://davidjaffesite.squarespace.com/music/whos-on-first.html|archive-date=2 April 2015|url-status=dead}}</ref> commissioned by the Russian National Orchestra is scored for five double basses. [[Bertold Hummel]] wrote a ''Sinfonia piccola''<ref>{{cite web|url=http://www.bertoldhummel.de/english/commentaries/opus_66.html |title=Bertold Hummel work commentaries |publisher=Bertoldhummel.de |access-date=15 July 2012}}</ref> for eight double basses. Larger ensemble works include [[Galina Ustvolskaya]]'s Composition No.&nbsp;2, "Dies Irae" (1973), for eight double basses, piano, and wooden cube, [[José Serebrier]]'s "George and Muriel" (1986), for solo bass, double bass ensemble, and chorus, and Gerhard Samuel's ''What of my music!'' (1979), for soprano, percussion, and 30 double basses.

Double bass ensembles include L'Orchestre de Contrebasses (6 members),<ref>[http://www.musicaguild.com/odbc/index.php?page=9&langue=anglais Official website of L'Orchestre de Contrebasses] {{webarchive |url=https://web.archive.org/web/20120311231052/http://www.musicaguild.com/odbc/index.php?page=9&langue=anglais |date=11 March 2012 }}</ref> Bass Instinct (6 members),<ref>{{cite web |url=http://www.lovefilm.com/visitor/product/85313-Bass-Instinct-Live-In-Vienna.html |title=Bass Instinct – Live in Vienna by none on DVD |publisher=LOVEFiLM.com |date=16 April 2007 |access-date=21 July 2012 |archive-url=https://web.archive.org/web/20070927210904/http://www.lovefilm.com/visitor/product/85313-Bass-Instinct-Live-In-Vienna.html |archive-date=27 September 2007 |url-status=dead}}</ref> Bassiona Amorosa (6 members),<ref>{{cite web |url=http://www.bassiona-amorosa.de/english.htm |title=bassiona-amorosa.de |publisher=bassiona-amorosa.de |access-date=21 July 2012 |url-status=dead |archive-url=https://web.archive.org/web/20090706075001/http://www.bassiona-amorosa.de/english.htm |archive-date=6 July 2009}}</ref> the Chicago Bass Ensemble (4+ members),<ref>{{cite web|url=http://www.chicagobassensemble.com/ |title=Chicago Bass Ensemble – Home |publisher=Chicagobassensemble.com |access-date=21 July 2012}}</ref> [http://www.ludusgravis.com/index.html Ludus Gravis] founded by Daniele Roccato and [[Stefano Scodanibbio]], The Bass Gang (4 members),<ref>{{cite web|author=Pighi Andrea |url=http://www.thebassgang.org/ |title=The Bass Gang|publisher=Thebassgang.org |access-date=21 July 2012}}</ref> the [[London Double Bass Ensemble]] (6 members) founded by members of the Philharmonia Orchestra of London who produced the LP<ref>Music Interludes</ref> [http://www.discogs.com/London-Double-Bass-Ensemble-Jim-Lawless-Steve-Gray-Music-Interludes/release/2008247 Music Interludes by London Double Bass Ensemble] on [[Bruton Music|Bruton Music records]], Brno Double Bass Orchestra (14 members) founded by the double bass professor at [[Janáček Academy of Music and Performing Arts]] and principal double bass player at [[Brno Philharmonic Orchestra]] – Miloslav Jelinek, and the ensembles of [[Ball State University]] (12 members), [[Shenandoah University]], and the [[Hartt School of Music]]. The Amarillo Bass Base of [[Amarillo, Texas]] once featured 52 double bassists,<ref>[http://home.mchsi.com/~donovan.stokes/volumeone.html donovan.stokes/volumeone]{{dead link|date=July 2012}} ''home.mchsi.com''</ref><ref>{{cite web |url=http://www.bassgirls.com/bass_wyrickinez.htm |title=Bassgirls |publisher=Bassgirls |date=21 August 1974 |access-date=15 July 2012 |archive-date=22 July 2012 |archive-url=https://web.archive.org/web/20120722084152/http://www.bassgirls.com/bass_wyrickinez.htm/ |url-status=dead }}</ref> and The London Double Bass Sound, who have released a CD on Cala Records, have 10 players.<ref>{{cite web|url=https://www.amazon.com/dp/B00003G1O5 |title=The London Double Bass Sound: Gary Karr, Ernest Bloch, Paul Desmond, Edward "Duke" Ellington, Jerome Kern, John & Paul McCartney Lennon, Niccolo Paganini, Cole Por |website=Amazon |access-date=21 July 2012}}</ref>

In addition, the double bass sections of some orchestras perform as an ensemble, such as the [[Chicago Symphony Orchestra]]'s Lower Wacker Consort.<ref>{{cite web |url=http://www.northwestern.edu/newscenter/stories/2007/03/concerts.html |title=Wacker Consort and Northwestern Music Faculty to Perform |publisher=Northwestern University |date=27 March 2007 |access-date=21 July 2012 |archive-date=19 August 2012 |archive-url=https://web.archive.org/web/20120819165722/http://www.northwestern.edu/newscenter/stories/2007/03/concerts.html |url-status=dead }}</ref> There is an increasing number of published compositions and arrangements for double bass ensembles, and the [[International Society of Bassists]] regularly features double bass ensembles (both smaller ensembles as well as very large "mass bass" ensembles) at its conferences, and sponsors the biennial David Walter Composition Competition, which includes a division for double bass ensemble works.