This study uses an interdisciplinary approach to analyze double bass intonation as it occurs in a solo (i.e., without playing with any additional instruments) and ensemble contexts, develops a systematic approach to double bass intonation (subsequently referred to as “the system”), and applies that system to double bass literature to theoretically test its applicability. While the examples used come mostly from the orchestral literature, the material presents passages often heard in an orchestral audition context in which the bass is played by itself. Intonation generally is examined according to acoustics, psychoacoustics, cognition, historical and modern performance practice, and pedagogy. The salient principle extracted is that acceptable intonation is generated from the satisfaction of several factors, including clear categorical assignment of an interval’s size in a tonal context, highly rated timbral characteristics of the sound produced, and tone placement conforming to emotional schematic expectations, and a general model of acceptable intonation is thereby proposed. With this background, the particular intonation difficulties of the double bass are analyzed, including acoustic roughness, psychoacoustic roughness, and part-specific intonation expectations. The resonance system of double bass intonation proposed is intended to minimize acoustic and psychoacoustic roughness while staying within the categorical bounds of intonation and maximizing conformity to schematic expectations. The system’s efficacy is theoretically tested against examples from the double bass literature from various time periods, keys, and modes. It is found to conform in most cases to intonation expectations, and where not, alternative readings and tone placements are suggested. A possible course of study to implement the system is then suggested, as are extensions and ideas for further related research
