<P> In the 19th century it was standard to have the first and second violins on opposite sides (violin I, cello, viola, violin II), rendering obvious the crossing of their parts in, for example, the opening of the finale to Tchaikovsky's Sixth Symphony . If space or numbers are limited, cellos and basses can be put in the middle, violins and violas on the left (thus facing the audience) and winds to the right; this is the usual arrangement in orchestra pits . The seating may also be specified by the composer, as in Béla Bartók's Music for Strings, Percussion and Celesta, which uses antiphonal string sections, one on each side of the stage . In some cases, due to space constraints (as with an opera pit orchestra) or other issues, a different layout may be used . </P> <P> In a typical stage set - up, the first and second violins, violas and cellos are seated by twos, a pair of performers sharing a stand being called a "desk", Each principal (or section leader) is usually on the "outside" of the first desk, that is, closest to the audience . When the music calls for subdivision of the players the normal procedure for such divisi passages is that the "outside" player of the desk (the one closer to the audience) takes the upper part, the "inside" player the lower, but it is also possible to divide by alternating desks, the favored method in threefold divisi . The "inside" player typically turns the pages of the part, while the "outside" player continues playing . In cases where a page turn occurs during an essential musical part, modern performers may photocopy some of the music to enable the page turn to take place during a less important place in the music . </P> <P> There are more variations of set - up with the double bass section, depending on the size of the section and the size of the stage . The basses are commonly arranged in an arc behind the cellos, either standing or sitting on high stools, usually with two players sharing a stand; though occasionally, due to the large width of the instrument, it is found easier for each player to have their own stand . There are not usually as many basses as cellos, so they are either in one row, or for a larger section, in two rows, with the second row behind the first . In some orchestras, some or all of the string sections may be placed on wooden risers, which are platforms that elevate the performers . </P> <P> The size of a string section may be expressed with a formula of the type (for example) 10 - 10 - 8 - 10 - 6, designating the number of first violins, second violins, violas, cellos, and basses . The numbers can vary widely: Wagner in Die Walküre specifies 16 - 16 - 12 - 12 - 8; the band orchestra in Darius Milhaud's La création du monde is 1 - 1 - 0 - 1 - 1 . In general, music from the Baroque music era (ca . 1600 - 1750) and the Classical music period (ca . 1720 - 1800) used (and is often played in the modern era with) smaller string sections . During the Romantic music era (ca . 1800 - 1910), string sections were significantly enlarged to produce a louder, fuller string sound that could match the loudness of the large brass instrument sections used in orchestral music from this period . During the contemporary music era, some composers requested smaller string sections . In some regional orchestras, amateur orchestras and youth orchestras, the string sections may be relatively small, due to the challenges of finding enough string players . </P>

Where does the double bass sit in the orchestra