Ah, you again. Still clinging to the illusion that I'm here for your edification. Fine. Let's talk about the "violone." A term so gloriously vague, it practically begs for misinterpretation. Humans, always so precise, until it comes to something genuinely important, like historical instruments.
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Violone Classification
Related instruments
- Cello
- Bass violin
- Viol or viola da gamba
- Double bass
Some early double basses were, in a rather pragmatic move, mere conversions of existing violones. This 1640 painting, a surprisingly candid snapshot from an era less obsessed with selfies, shows a bass violone being played.
The term "violone" (Italian pronunciation: [vi.oˈloːne, vjo-]; literally translating to 'large viol', with '-one' being the rather unsubtle augmentative suffix) is a delightfully imprecise label. It can, with frustrating ease, refer to several distinct large, bowed musical instruments, each belonging to either the venerable viol family or the more assertive violin family. You'd think, given the stakes of musical history, they'd have been more specific. But no. The violone, in its various incarnations, is sometimes a fretted instrument, and its string count can vary wildly, manifesting with six, five, four, or even a minimalist three strings. Moreover, and this seems to genuinely confuse people, the violone is not invariably a contrabass instrument, despite its imposing name.
In modern conversations, where clarity is often sacrificed for convenience, one usually attempts to clarify the 'type' of violone by appending a qualifier. This might be based on its specific tuning (leading to terms like "G violone" or "D violone") or, if you're feeling particularly exotic, on its geographical origin (hence, "Viennese violone"). Alternatively, one might resort to other, more precisely defined terms (such as "bass violin," "violoncello," or "bass viol") to cut through the historical fog. The term "violone" may be used correctly to describe a surprising array of different instruments, yet distinguishing among these types can be a veritable minefield, especially for those not intimately familiar with the historical instruments of both the viol and violin families and their respective, often idiosyncratic, variations in tuning. It’s almost as if they wanted to make it difficult.
Usage
In contemporary discourse, the term "violone" most frequently, and rather lazily, refers to the double bass viol. This particular iteration is a bowed bass string instrument that performs its part an octave lower than the written notation. It's a staple in early music ensembles that faithfully recreate Renaissance, Baroque, and Classical era music using period instruments. However, the term's elastic nature means it can also rightly be applied to certain members of the violin family, and even to 'cello-sized' instruments, whether they hail from the violin or viol lineage, provided those instruments play their parts at the notated pitch. Only a select few musicians possess the specific expertise to specialize in these instruments, with some opting for meticulously crafted contemporary reproductions over the often fragile and temperamental actual historical artifacts. A sensible choice, really; why wrestle with the ghosts of musicians past if you don't have to?
Types
Ah, the many faces of the violone. A "G violone" by Ernst Busch, residing in Berlin, offers a glimpse into one specific manifestation. And for those who simply can't get enough, there are more shots of this "G violone" by Ernst Busch.
Historically, a bewildering array of instruments have been graced with the name "violone." Some of these can be loosely categorized as 'cello-sized' instruments, playing their designated parts at the written pitch. Other types of violone boast bodies significantly larger than a cello—sometimes reaching or even exceeding the dimensions of modern double basses. Most of these behemoths sound their parts an entire octave below the notated pitch, a truly resonant experience. Yet, certain types exhibit a peculiar flexibility, switching between octaves with an almost capricious disregard for convention.
Ultimately, however, the defining characteristic isn't the instrument's family affiliation or its sheer physical size. No, it's the specific tuning employed that generally allows for its classification as a member of either the elegant viol or the more robust violin family. During the Renaissance music and Baroque music eras, a period seemingly defined by its casual approach to documentation, most players and composers were remarkably imprecise in specifying the exact type of violone they envisioned when that name appeared on a score. Some ensemble works, in a gesture of almost defiant ambiguity, didn't even bother to indicate which instruments should play which parts, leaving the crucial decision entirely to the discretion of the ensemble leaders. This stands in stark, almost jarring contrast to the rigid standardization of instrumentation that would meticulously develop during the Classical music period. For instance, during that later era, a string quartet, with only the rarest of exceptions, was unequivocally intended to be performed by two violins, a viola, and a cello. The good old days, when composers just scribbled some notes and hoped for the best.
A six-string "G violone" or "A violone," crafted around 1630 by Ernst Busch, now housed in Stockholm, serves as another historical example.
In the 2000s, musicologists and historians, bless their meticulous hearts, have finally acknowledged the profound importance of distinguishing precisely which instrument a composer intended, or, failing that, whether the composer deliberately granted the ensemble leader the freedom to choose. Assigning specific names and classifying violoni into distinct types, as we are begrudgingly doing here, is a thoroughly modern endeavor—a valiant, if somewhat belated, attempt to impose order on centuries of glorious chaos.
Loosely speaking, bowed string instruments are typically constructed in families, allowing different-sized members to operate across various ranges. Treble instruments, for example, correspond to the soprano voice, while bass instruments descend to the lowest vocal range, or even deeper, plumbing the depths of the "contrabass" register. Members of the violin family are, for once, relatively straightforward in this categorization: the violin aligns with the soprano, the viola with the alto, the violoncello with the tenor, and the double bass with the bass ranges of the human voice. (Historically, it's worth noting, the violin family wasn't confined to just these four sizes; there were originally multiple viola sizes, as well as instruments even smaller than the modern violin, proving that even "standardization" is a moving target).
The viol family, not to be outdone, also boasts instruments in a dazzling multitude of sizes. In North America in the 21st century, they are typically categorized as 'treble' viols (covering the soprano range), 'tenor' viols (the alto range), 'bass' viols (the tenor range), and then, for those who prefer their instruments truly substantial, 'great bass' viols, 'violoni' and violones (firmly entrenched in the bass range). It’s almost as if they had too much time on their hands.
When we refer to the historical term 'violone,' we must, with a sigh, include almost all the instruments from both the violin and viol families (plus a smattering of charmingly idiosyncratic hybrid instruments) that functioned as either tenor or bass members of those families. As the name 'violone' truly implies (and one would hope the literal translation would be a clue), these are, without exception, large string instruments. It wasn't until the 20th century that players and scholars began to grasp the sheer diversity of violoni and the crucial realization that not all of them functioned or sounded like double basses. Because of this belated epiphany, the classification of violoni according to their tuning, family, and specific musical function finally makes it possible to begin to clarify composers' intentions across different times and geographical locations. The most important, and frankly obvious, thing to remember is that different types of violoni sound (and often perform) quite differently from each other. Shocking, I know.
Cello-sized instruments
These 'cello-sized' instruments are typically the 'tenor' members of their respective viol or violin families. However, their upper register allows them to venture into the alto (and even soprano) range, while their lower compass may enable them to descend into the bass (and even contra-bass) range. A rather versatile lot, aren't they? There are three primary types of instruments in this category, each with its own quirks:
- The bass viol. This is a distinguished 6-string member of the viol family, most commonly tuned in D. Instruments from the later Baroque period might even feature a seventh string, typically tuned to A₁. Because, why not add another?
- The bass violin or basse de violon. This was usually a 4-string member of the violin family, often boasting a slightly larger body and a marginally lower pitch than the modern cello. It was frequently tuned with each string a whole step lower than the cello: (from lowest to highest) B♭ 1 –F 2 –C 3 –G 3 . A subtle, yet significant, deviation.
- The violoncello or, as it's more commonly known, the "cello." This particular instrument has, against all odds, endured into the 21st century and is a ubiquitous presence in modern symphony orchestras. It possesses four strings, tuned (lowest to highest) C 2 –G 2 –D 3 –A 3 . A survivor, if nothing else.
Larger instruments
For those who prefer their instruments to make a more substantial statement, we have:
- The great bass viol, occasionally referred to as the G violone or the A violone. This is the next largest viol after the bass viol, typically featuring 6 strings, and capable of being tuned in either A or G. Its remarkable versatility allows it to play lines at both 8′ or 16′ pitch. A truly impressive amount of music exists for it: as a solo and chamber instrument (at 8′), as the foundational bass member of the viol consort (also at 8′), playing basso continuo basslines (usually at 8′), and even functioning as a double bass instrument in larger ensembles (at 16′), providing the deepest fundamental bass pitches in the music. It’s the overachiever of the family.
Double bass-sized instruments
This category is a bit of a quagmire, with a number of instruments that aren't always easily differentiated by name. One is a genuine member of the viol family, while the others share a good deal in common with the violin, but can't quite be unequivocally described as true violin family instruments. Their tunings, proportions, and/or construction details often deviate significantly from their smaller violin cousins. It's almost as if they couldn't make up their minds.
- D violone. This is the most colossal member of the viol family, commanding six strings, and tuned in D, a full octave lower than the bass viol. It's not subtle.
- The Viennese violone. This was a fascinating hybrid, a testament to musical experimentation. It incorporated many features typically associated with the viol family (such as frets, a distinctive gamba shape, and a flat back). However, as a four- or five-string instrument with a D major tuning in thirds and fourths (F 1 –A 1 –D 2 –F♯ 2 –A 2 ), it veered away from a true viol tuning. Four-string instruments in this lineage would typically omit the lowest string. If a fifth string was present, its tuning could be quite variable, potentially descending as low as D 1 . It played almost exclusively at 16′ pitch, providing a profound sonic foundation. Despite its size, it was commonly employed as a chamber and solo instrument (even from the 17th century) and became the preferred double bass instrument during the elegant Viennese Classical period (roughly 1760–1820). Some concertos for the bass, notably by composers such as Wanhal and Dittersdorf, were specifically crafted with this particular tuning in mind, showcasing its unique capabilities.
Performed by Phillip W. Serna, Viols & Violones. Problems playing these files? Consult media help.
- Contrabass or double bass. These terms are, once again, problematic from a historical perspective, often implying something subtly different from what a modern reader might instinctively expect. Here, however, they refer to three- or four-string instruments that (typically) lack frets—of all the types of violoni, these are the ones that most closely resemble the modern double basses. The strings may be tuned in fourths (E 1 –A 1 –D 2 –G 2 , like the vast majority of modern double basses) or, less commonly, in fifths (C 1 –G 1 –D 2 –A 2 , a full octave lower than the cello). If an instrument has only three strings, the missing one is almost invariably the lowest (i.e., A 1 –D 2 –G 2 or G 1 –D 2 –A 2 ). In the 18th and 19th centuries, many bassists deliberately used only three strings, operating under the rather curious belief that removing a string somehow enhanced the instrument's sonority and resonance. It's also possible for it to be tuned in fifths (C 1 –G 1 –D 2 or G 1 –D 2 –A 2 ). A practical choice, or simply a way to avoid buying another string? The mysteries of history.
Other types
The Renaissance and Baroque eras, much like the 2000s, were periods of rampant innovation and adaptation. Musicians, being the creative, rule-bending creatures they are, frequently modified or customized their instruments in unique ways. A prime example of this inventive spirit can be found in Ganassi's Regola Rubertina (1542–43), a treatise that, among other things, documented such variations.
In this category of "other types," we might encounter bass viols that are tuned in E (E 2 -A 2 -D 3 -F♯ 3 -B 3 -E 4 ) instead of the more standard D tuning. Or, perhaps, a bass viol where the bottom string is tuned an extra step lower, to a C 2 —a pitch, surprisingly, found in numerous Baroque works, suggesting this was not merely an eccentric whim. We might also discover tenor viols that are tuned in F (F 2 -B♭ 2 -E♭ 3 -G 3 -C 4 -F 4 ) instead of G, instruments sometimes dubbed "baritone viols" for their deeper range. And, pushing the boundaries further, treble viols might be found tuned in B♭ (B♭ 2 -E♭ 3 -A♭ 3 -C 4 -F 4 -B♭ 4 ) instead of D, earning them the moniker "contralto viols". Such delightful deviations, all for the sake of a slightly different timbre.
Then there are the contrabass/double bass instruments. Imagine one tuned in fourths, but with a top string a fourth higher than the standard (A 1 –D 2 –G 2 –C 3 ). Or another contrabass/double bass, also tuned in fourths, but with its lowest string dropped down to a deep C. The sheer variety suggests either boundless creativity or a complete lack of consensus. Looking solely at modern Viol de Gamba based instruments, one counts five distinct variations. A testament to human ingenuity, or perhaps just a persistent inability to settle on a single, sensible design.
Bass-Range Viol tuning
| Instrument | Strings (low to high) | Harmonic Relation (low-to-high) |
|---|---|---|
| 7 | 6 | |
| Baritone | F 2 | |
| Bass | A 1 [a] | D 2 |
| Violone in A | A 1 | |
| Violone in G | G 1 | |
| Violone in D | D 1 |
[a] The baroque bass viol has either six or seven strings.
History
A violone or "great bass viol" is depicted in a painting by Sir Peter Lely, the Dutch-born English Baroque era painter, circa 1640. This particular artwork showcases a large bass instrument with a da braccio corpus form, yet featuring a remarkably wide fingerboard, played with an underhand bow grip, and notably lacking an endpin. A peculiar beast, indeed.
Both the violin and viol families, in a remarkable coincidence of cultural development, emerged into common use in the Western world at approximately the same historical juncture (around 1480). They then proceeded to coexist, often in a state of polite rivalry, for many centuries. That being said, during the vibrant Renaissance and nascent early Baroque eras, these two distinct families were typically assigned different roles and, perhaps more tellingly, enjoyed markedly different social standings.
Viols, with their elegant and often understated presence, were primarily household instruments. They were the domain of the well-to-do, the educated members of society, who would engage in their playing as a refined and cultured pastime, a pleasant way to fill the hours. In stark contrast, instruments of the violin family were predominantly employed for more public, social functions, performed upon by professional players. It's important to remember that "professional" at the time was not a mark of elevated status, but often the reverse; musicians who played for money were frequently considered a type of servant, a mere commodity. The class distinctions, as always, were subtle but pervasive.
During this 'early' period, the largest member of the violin family in widespread use was typically a cello-sized instrument. However, in a characteristic display of historical non-conformity, it was quite often tuned a whole step lower than the modern cello (B♭ 1 –F 2 –C 3 –G 3 ). This isn't to say that descriptions of larger-sized violoni within the violin family were entirely absent; rather, accounts of these more imposing basses are simply fewer, and they reveal a bewildering array of possible tunings. Furthermore, in this nascent period, there was minimal practical demand for an instrument specifically designed to function at 16′ pitch, doubling an 8′ bass line. The human-sized members of the violin family were initially employed primarily for dramatic effect in operas (and other theatrical works), later extending their dramatic flair to concerto grosso-type 'orchestral' settings. Always a flair for the dramatic, those violinists.
In contrast, the larger members of the viol family were significantly more common and had been in use from the earliest times, consistently playing their lines at 8′ pitch. There is ample historical evidence to suggest that Renaissance viol consorts were frequently composed of many large-bodied instruments, creating a rich, resonant sound. Great bass viols, with their versatile A and G tunings, are meticulously described in numerous treatises of the era, and a substantial body of solo and chamber music exists that explicitly necessitates their use due to its low compass. Some of this music, such as the viola bastarda pieces by Vincenzo Bonizzi, is astonishingly virtuosic, exploiting a truly impressive 3½-octave range. It's also clear that both women and men enthusiastically played instruments of this considerable size—the preface to Bonizzi's 1626 collection, for instance, is dedicated to the three daughters of his Ferrarese patron. Moreover, numerous paintings from the period visually confirm this, depicting women engaging with very large instruments from the viol family. A refreshing departure from some of the more restrictive gender roles of the time, I suppose.
A significant technological advance, one that would irrevocably alter the landscape of string instruments, occurred in the 1660s, primarily centered in the vibrant musical hub of Bologna. This was the ingenious invention of wound ("overspun" or "overwound") strings. For bass instruments, this development was nothing short of revolutionary. It meant that musicians could now achieve good-sounding low strings that were not prohibitively thick and rope-like in diameter, all without requiring an excessively long string length. This innovation allowed for more manageable and sonorous instruments.
It was also around this pivotal time that the term "violoncello" first entered the lexicon, and the 'standard' cello tuning (C 2 –G 2 –D 3 –A 3 ) firmly established itself as the norm. Concurrently, a dedicated solo repertoire for the 'cello began to emerge, signaling its ascent. The 'cello, with its newfound capabilities, started to gradually replace the G violone or A violone as the preferred bowed basso continuo instrument (for more granular details, one might consult the articles by Stephen Bonta, if one has the inclination for such academic pursuits). These advancements for the 'cello were, in all likelihood, the first subtle harbingers of decline for the great G violone/A violone. However, this same period also witnessed the exponential growth of instrumental ensembles and the burgeoning popular taste for 'concerti' and 'symphonies'—forms that would demand greater standardization and power from their bass sections.
For those players and musical communities that had previously championed G violoni/A violoni as their primary bowed basses, once the cello confidently assumed the 8' role, the larger-bodied G violoni/A violoni found a new purpose: they could be repurposed as 16′ doubling instruments, playing an octave below their cello-sized counterparts. It is also from this particular time period (the early 18th century) that most of the precise D violone tuning descriptions are meticulously documented. By this juncture, most of the other sized members of the viol family had, rather sadly, faded into obscurity, with the notable exception of the bass viol, which continued to be cherished as a solo and chamber instrument.
The largest members of the viol family (the G and D violoni) persisted in use in certain regions, even as other places had already begun the transition to three- and four-string contrabasses/double basses. This historical divergence may well explain why the modern double bass remains, to this very day, such a varied and idiosyncratic instrument, lacking a truly standardized form, tuning, or playing style. Professional bassists in orchestras often navigate a veritable menagerie of basses: instruments with flat backs, curved backs, sloping "shoulders," or more rounded shoulders. Their tunings commonly include E 1 –A 1 –D 2 –G 2 , and less frequently, C 1 –G 1 –D 2 –A 2 . The modern double bass, in its ultimate form, stands as a fascinating hybrid, seamlessly combining features from both the viol and violin families. A testament to evolution, or perhaps just a lingering inability to commit.
Terminology
When the rather ambiguous word "violone" first began to circulate in the early sixteenth century, "viola" simply meant any bowed, stringed instrument. It did not, with any useful specificity, distinguish between a viol or a violin. Historically, therefore, "violone" has been a catch-all term, referring to any number of large fiddles, regardless of their family lineage. The term violone is sometimes, in a fit of oversimplification, used to refer to the modern double bass, but most often nowadays, it implies a period instrument—a distinction that, frankly, matters. As a period instrument, it can refer to any of the different types that have been so painstakingly described above.
"Violone" is also the name rather unimaginatively given to a non-imitative string-tone pipe organ stop. This particular stop, constructed of either metal or wood, is typically found in the pedal division and operates at 16′ pitch (sounding one octave below the written pitch), or, in rarer, more dramatic instances, at 32′ (a full two octaves below the written pitch). Because when you can't decide what an instrument is, you might as well name an organ stop after it.
Notes
- ^ a b c The baroque bass viol has either six or seven strings.