Tips
1. When preparing to make an entrance, don't "jump the gun". If you bring your bow up too soon, you might cause other players to come in early.
2. Save your stand partner. If you detect he/she is about to make a wrong entrance, try to discreetly signal to them , "not yet". (Follow up...Jeff Weisner saved my a__ the other night in the NSO's "Serious Fun" festival, all the way from the third stand [behind me]. We had some tricky page turns and put the wrong piece up. I almost came crashing in fortissimo rather than piano, which would have been seriously embarrassing! Thanks Jeff!)
3. The most important thing for a new player in an orchestra is to make an effort to match the bowing style of the rest of the section.
4. In an orchestra, don't use a very wide vibrato. It makes a bass section sound muddy and out of tune.
5. Confucius say: "He who turn page late will not ingratiate himself with stand partner."
6. Learn from others, but don't limit yourself to copying them.
7. Know when you've got the tune. Play out when you've got it, lay back when you don't.
8. When auditioning, try to play only what is "on the page". (I have been serving on an audition committee recently (not for bass). I am reminded once again how important it is to accurately represent what is on the written page in tutti parts. The parts are designed to be played in an orchestra by eight players (for basses) and up to sixteen players (first violins). This means one should not embellish or personalize the parts in any way. All dynamic markings should be followed, and there should be no added glissandi, rhythmic alterations, or rubatos. If every player in a section added their own glisses, or made arbitrary decisions about double dotting rhythms, the sound of the section would be muddled. Soloists can get away with anything, but orchestra players depend on and cherish a mutual discipline.
9. When accompanying a soloist in a concerto, play less whenever the soloist is playing. Try to maintain rhythmic clarity, however.
10. The tuning harmonics are convenient, but on many basses they tend to be out of tune relative to the open strings. It's a good idea to compare them with an electronic tuner and learn what the tendencies are for your instrument. I prefer tuning the open strings.
11. When accompanying, most crescendos should be delayed to avoid covering the soloist. Try not to initiate a crescendo ahead of the section, or the Principal.
12. Try not to choke the sound of the bass by pressing too hard with the bow. Such a tone will also not blend with your colleagues.
13. It's natural to move in performance, as long as it's not tacky. Enjoy the music, but not to the point of annoying your stand partner. When sitting with the Principal, restrain it, or be in sync.
14. Cut off with the bass section; ending a note properly is as important as starting it. There's nothing more annoying than a laggard.
15. Know when the conductor is likely to make eye contact and be ready. It shows you're paying attention and have good musical instincts.
16. Trust your colleagues with entrances. If you are frequently a measure or so early (more flagrant than being late!), open your ears and defer to your bass buddies.
17. Vibrate the short notes. Repeated eighth notes in a Mozart symphony often sound better with a little vibrato.
18. Don't forget to practice perfect intonation, in scales and pieces of music.
19. In the opening of Ravel's La Valse the basses are divided three ways. The top part plays a sustained trill from open E to A flat. It's tricky because the bow tends to fling off the string when the string rebounds from the fingerboard. Consider stopping the A flat by pinching it between the thumb and first finger. This way, the string is stable and the bow remains in contact with it.
20. Guard against rushing fast passages and dragging in slower ones. These "sins" often occur with a change in dynamics, too. For example, the opening of Mozart 35, 4th mvt., when the forte eighth notes kick in is usually rushed; in the opening of the 2nd mvt. of Beethoven 7, when the theme is repeated PP the tendency is to lag.
21. Write cues into a bass part to help land precise entrances. This is most helpful for pizzicatos, where there is no room for error.
22. The third finger of the left hand can be used with the standard left hand position (lower register). However, because it is weak, it generally is not well suited for notes of significant duration or that require an expressive vibrato; it's best for passing tones.
23. Play with the appropriate style. For instance, don't play Vanhal like Bottesini, or Mozart like Tchaikowsky.
24.The best teachers show you how to teach yourself.
25. Have patience with fingerings. Sometimes, you have to live with them a while before you know if you like them.
26. A good bass section plays pizzicatos together, even so-called delayed pizzicatos. It requires breathing and subdividing together - and enough patience. Watching bows of other string players also helps.
27. Don't lead your stand partner, unless by special arrangement...
28. Use sticky rosin for spiccato playing - not too much and mostly in the lower half of the bow.
29.Guard the time and tempo - be part of the solution, not the problem.
30. Sing your music to better understanding phrasing, note lengths, articulation, vibrato, etc. Music dictates technique, not the other way around…
31. To place certain delicate pizzicatos, it helps tremendously to look for physical cues. For instance, the bow change of the soloist or first stand string players, or even the breathing of wind players.
32. Let not faulty stage presence detract from your performance.
33. Learn spiccato from day one - you'll need it every day of your orchestral career!
34. Try to be aware of how you breathe when you play. Heavy breathing can be a distraction to the listener and might indicate undue tension.
35. Consult the score of a piece of music to better understand the role of the bass part, learn helpful cues, and correct errors.
36. Aim for clarity and continuity of "colors" in your playing.
Emails
1. I am a high school student and just got a new Chinese bass. What kind of strings should I use?
New instruments tend to sound harsh. For classical playing, choose strings which will make your bass sound more mellow. I recommend medium grade Pirastro Flexocor, Original Flexocor, Flat Chromesteel, or Permanent. Thomastik Bel Canto is also a good choice. I am not an experienced jazz player, but Thomastik Spirocore seems to be the favorite of many jazz bassists. They're bright and sustain pizzicato very well.
2. I am a college student and have a question for you. In your opinion, what's most important to producing a big sound on the lower strings - the way you hold the bow, or rosin?
The most effective way to get more sound is to lower your bow and apply more weight. Drawing the bow faster is another option which produces a rounder and less focused sound.
Regarding the issue of rosin- many bass players who have dedicated themselves to being soloists use very little rosin. They feel that the sound is cleaner and, as they don't often play spiccato or powerful accents, they don't need the extra grip. This can be a problem when switching to orchestra playing, which often calls for more aggressiveness on the lower strings. I do think that orchestra playing indeed requires more rosin. More importantly, whichever mode you are in, one has to develop a sense of the appropriate amount of rosin required for every situation. This comes through trial and error. Ultimately, it should be "second nature" - meaning you always know exactly when you need more and when you need to refrain from applying it.
I don't know if you play French or German bow, but sometimes German bow players have trouble playing on the E string because their arm bumps into the upper bout. French bow players rarely have this problem. German bow players need to look at two things to improve playability of the E string. First, is the bridge too low? Back when basses were strung with gut strings, the strings were higher off the fingerboard. Steel strings require that the strings are closer to the fingerboard because they are less flexible than gut. To offset this, it might help to have the neck set out about one inch.
The other thing that can be looked at is the arch of the bridge. Perhaps the general arch could be cut so that the E string is higher and the G string is lower. This might involve some fingerboard planing. Even less involved is determining if the arch could be flatter, which would create a bit more clearance for the arm when bowing on the E string.
3. I am a double bass performance major at a university. My professor recommended I email you to get your insight on the topic of my term paper and lecture recital. The topic is "The Advancement of the Double Bass by Composers and Bassists Dragonetti, Bottesini, and Koussevitzky." For timing purposes, I will only be performing Koussevitzky's Valse Miniature and Dragonetti's Concerto in A major to demonstrate the compositional and performance advancement of the instrument. Do you have any opinions on how these three composers raised the expectations of double bassists today, advanced the performance capabilities of the instrument itself, and advanced the performance technique? Any insights would be greatly appreciated.
Well, I certainly am not a scholar. No doubt, you will have to do some reading on these three musicians you mentioned...
My basic feeling is that Dragonetti probably had the greatest impact as a bassist as he was so highly respected for his abilities while in London for many years. He seemed to attract attention even playing the average bass line, and there followed plenty of controversy in the conservatories of Europe about whether his style of bowing should be adopted. I know less about Bottesini, but I regard his works and style of playing as having less substance and more experimental as far as the technique and instrument setup are concerned. He was more into the showiness (bel canto) and was willing to do whatever it took to pull that off. He probably contributed more to the music world as a conductor.
Regarding "setup"...it's important to know that, even to this day, bassists have made a lot of adjustments to the instrument when focusing on playing solo literature. No other stringed instrument uses a solo tuning, and string height and thickness are big issues. It does have a unique sound, however, with its own appeal.
Koussevitsky certainly was a a huge figure in the twentieth century - again, more as a conductor and champion of new music than as a bass player. He organized new music concerts in Paris and Russia (I think) and was later conductor of the Boston Symphony Orchestra. There, he commissioned such important works as Bartok's Concerto for Orchestra and was the founder of Tanglewood, a very important training center for young instrumentalists and conductors. (I spent two summers there, drinking in the Koussevitsky mystique and sitting at the foot of Leonard Bernstein, his most famous protégé.) Almost every conductor and composer of note from the second half of the previous century passed through there.
As a composer, Koussevitsky contributed little. But, it is quite clear that he was a superb musician with integrity down to his toes, also in terms of bass playing. I would venture that his greatest accomplishment as a bassist was being an inspiration to Gary Karr, though I'm not sure they actually ever met. Gary really grabbed the "baton" from him (and Koussevitsky's bass) and ran with it, becoming a very successful soloist and making a big name for himself. Gary really deserves the credit for inspiring practically all bass players from the 1960s onward (including myself), being a dedicated teacher, commissioning works, and making the bass more acceptable as a solo instrument.
It must be assumed that these virtuoso figures influenced the perception of what the bass is capable of. The works of Richard Strauss and Richard Wagner certainly reflect that the level of bass playing was greatly improved in the latter half of the nineteenth century. I'm sure Dragonetti and Bottesini were partly responsible for this.
4. I am an amateur bassist playing in an amateur orchestra. We're going to be doing the Ginastera Harp Concerto in June. At one point we're supposed to hit an Eb harmonic - the Eb at the top of the treble clef. Any suggestions on where to find this?
I don't know the piece. One issue is how much time you have on either side of the entrance. My first suggestion is to play it as a false harmonic on the A string. This can be accomplished two ways. First, by pressing A flat with your thumb (just below the first harmonic) and lightly touching over E flat above it with your third or fourth finger. Or, pressing E flat with your thumb and lightly touching over A flat above it (same A flat as the other method). If you have lots of time you can tune your E string down a half step and play the note as the third natural harmonic in the series.
5. I have two questions that will hopefully be useful to other people as well.
1) I have spent some time recently learning the Prelude to Bach's 1st Cello Suite (Sterling edition). I know the notes well and can play them in tune. However, the string crossings are murderous and my playing is filled with scratches and squeaks from maneuvering the bow. Any suggestions for making practicing this piece more manageable and working to clean it up?
2) I am a French bow player and have trouble loosening my bowing shoulder up -- the result is that my spiccato is uneven and I seem to almost be bowing with my upper body. I also suspect that this tension may contribute to the uncleanness in playing pieces like Bach. Though I know what is happening, I have difficulty fixing it and am hoping for some advice.
First of all, thanks so much for writing. I really love to hear from people...
Regarding the Bach, I would have to first see what kind of setup your instrument has. Have you been to see a good professional player who has inspected the string height, bridge arch, etc? If there isn't enough arch then you'll be generating a lot of extra noise as you hit various strings unintentionally with your bow. It might help to get the bow down a little closer to the bridge. The Bach isn't easy on the bass-certainly a lot of jumping around. If you are finding you are just not accurate with string crossings then practicing it slower might help. But I have a hunch it has more to do with your instrument.
As for your bow arm...You really haven't given me an indication of your proficiency level, experience, or whether you have taken private lessons. Certainly, as discussed in the other paragraph, if there is a problem with the setup of your instrument then you might experience discomfort in your bow arm as you try to compensate for it. Beyond that, I can't possibly know what is wrong unless I see you in person.
If you haven't already, I suggest you take some lessons from a reputable teacher. If you need some names, tell me what area you are in (confidentially) and I might be able to suggest someone.
I can certainly address specific questions about the bow arm. For example, you don't want to be using your whole body for spiccato. Depending on the speed, you'd use mostly arm for a very slow spiccato and the faster it gets you'd use less arm and more elbow, wrist, and fingers.
If you want to "fill in some blanks" I might be able to steer you in the right direction…
6. Hi Mr. Oppelt,
I am a double bass performance major at a major music school. I just wanted to let you know that I stumbled across your cd today in a local bookstore. I bought it and am blown away. It is absolutely fantastic. I just wanted to tell you that.
Thanks so much for telling me this! You made my day...Robert Oppelt (In case anyone is wondering - I did not make this up.)
7. From Charlie Barnett:
Hi, Mr. Barnett
Just a note to let you know that I heard your Serenade for Double Bass on WOSU FM this morning. I enjoy classical music of every genre, but my favorites tend to be 20th (and 21st) century works of a lyrical type. The Serenade was wonderful, and the way you made the harp and double bass work together was, well, fun. So…I ordered the CD. Couldn't help it! ;) Keep up the good work!
8. I'm wondering whom you would recommend to work on basses in the Washington, D.C. area…
John Lemoine (D.C.), Michael Weller (Alexandria, VA), Tom Wolf (The Plains, VA). Two hours drive is Michael Shank in Pennsylvania. Lemoine and Weller are luthiers of string instruments, while Wolf has made world-class harpsichords, in addition to basses. Shank can do just about anything. He made a very nice bridge for my bass.
9. Mr. Oppelt,
I teach middle school strings. A few weeks ago, I was looking for clear photos of the different styles or "schools" of the German bow hold for myself and for private students- I was very pleased to see that you have offered exactly what I was looking for. Thanks!
For myself, I am in a state of transition. My bow hold resembles photo #8, but I am trying to get the frog a little out of the palm of the hand to accomplish what you described so well in example #11. One question though: does your ring finger rest on top of the ferrule? And does that finger have any particular function with the way you use the bow?
I have read many great things about the recording you made and plan on purchasing a copy. Thank you for providing such an excellent online resource...
A: Well, I'm glad that new page about German bow grip served somebody! It's very hard to know how much attention this site is getting because I don't operate it like a blog. Not a lot of feedback….
I just did some further experimenting regarding the placement of the ring finger (and pinky) in my style of holding the bow. The side of my ring finger tip (toward pinky) lightly touches the side of the ferrule, or not at all. It doesn't apply any pressure whatsoever or serve any function that I can determine. When I made an effort to place it on top of the ferrule it altered what I do with my thumb and first finger enough that it wasn't comfortable. I took it a step further and applied a little pressure with it. I immediately felt some tension in my wrist and it confused the whole issue of how the force was to be delivered, i.e., through the thumb. It is possible if someone has a narrower hand than mine that the ring finger might rest a little more on top of the ferrule, but, the way I grip the bow that finger doesn't serve any purpose at all and is best forgot about.
Regarding the pinky…I have the pinky tip against the bottom of the ferrule. When I took it away and tried playing I definitely felt weaker. The pinky helps hold onto the bow (being opposite the thumb) and therefore, helps deliver power. The added grip also aids spiccato control. Again, with a smaller hand (or larger frog) the pinky tip might end up positioned on only part of the ferrule, or perhaps even on the mother of pearl.
Regarding getting the frog out of the palm…As it pertains to my grip, there are two notable things. First, the stick will compress against the side of the bone of the hand close to the joint of the first finger. That boniness creates a pretty solid resting place and effective fulcrum. A callous should develop there. Secondly, with the stick resting on that bone a small gap will also appear between the upper side of the stick and the side of the thumb. That is a sign of the correct manner of holding this particular method. I feel this grip is powerful and sufficiently free of tension.
Let me know if I can be of further assistance…
10. Hello Mr. Oppelt,
Wow, I just can't get over how great you sound on your recording. Just one question-do you play sitting or standing?
Great to hear from you, and thanks for the compliment...
I always sit, and have since I joined the NSO. When I was a student I stood all the time. I think sitting is easier on the feet for the many hours that we play, and less twist of the spine, depending on the size and shape of the bass one plays. I'm totally used to it now. Certainly, there are differences. Standing, one is constantly concerned with balancing the instrument and holding it more with the left hand. Sitting, the left hand is more free but the bow arm functions a little differently-needs to be held up a bit more horizontally. It might be a bit more work for that shoulder, in some respects, but hopefully, one learns to put the arm weight to use through gravity. When sitting, I try to find a comfortable degree of angle of recline, where the bow arm is not overburdened holding the bow off the string and the bow itself functions most effectively. I don't care for standing with a bent endpin, either.
11. Hello Mr. Oppelt!
I just have one question regarding holding the German bow. I play French bow primarily and am really interested in learning how to play German. Does the ring finger serve any purpose in holding the bow? Also, how did you get over, as a student, the tendency for the bow to bounce on the down bow.
Well, my first thought was that the ring finger does absolutely nothing in all of the bow grips I have documented. However, I went back to try the holds again and I did realize that, for me at least, I could find a use for the third finger with the first example on my German bow page. With that grip, the side of my third finger tip rests against the inside curve of the frog where I found it might be useful to help grip the frog or apply a little weight. I haven't actually tried it in performance, but I intend to.
Regarding the bouncing on the down bow you speak of - that never happened to me. (I have seen other "Frenchies" do that when they take a crack at German.) It takes some time to get the feel of it. There's probably a bit of tension there, which is understandable when getting accustomed to it.
If you are just beginning to experiment with the German bow, I would suggest creating some exercises which utilize a variety of basic bowings. I think it's good to start with a few long tones on each open string, close to the bridge. Then, perhaps some shorter strokes on the string at the frog, middle, and tip, playing scales. Follow that with some spicatto strokes of varying speeds, lengths, rhythms, and dynamic levels. Also, if you don't quite understand how the parts of the bow arm function effectively, you'll need a good teacher to show you exactly how the components work, together and separately, i.e., whole arm, elbow, wrist, and fingers. (That's the same with the French bow.) A lot of it is common sense, but, you can save time and effort by visiting an accomplished player whose opinion you trust.
Thanks for writing!
12. Mr. Oppelt,
Thank you for the "Get a Grip" page. It has provided a lot of fodder for experimentation. All of your pictures show the bow being held with the string under the hair at around the balance point of the bow. To what extent do you change the grip throughout the bow stroke beyond the bow merely moving in and out of the hand? Or more specifically:
Does the angle of the thumb increase as the bow moves towards the tip? I have been experimenting with keeping my wrist flexible, but straight, throughout the stroke. As a result the thumb turns more perpendicular to the bow at the end of the stroke? The alternative seems to me to be to bend the wrist or raise and bend the elbow.
Does the bow hold change for different strokes? For instance, some bassists let the pinky leave the bow entirely on legato strokes? Or on a thrown stroke the first and index finger may extend further towards the tip (closer to the wrap, rather than on the frog) rather like the hand position one might have at the end of shooting a basket or throwing a ball.
Some of these things I don't think about very much, so, it has been fun for me to ask myself such questions. I should reiterate that I can only speak from my own experience and I don't suppose to have a "lock" on the best way to do things.
I hesitate to try to "break it down" too much because a lot of the smaller movements kind of need to fall into place on their own, without thinking about manipulating them. However, it's probably worth becoming aware, at some point, of what every part of the bow arm does. When things are working to one's satisfaction, forget it all and let music-making guide technique…that's the goal, at least.
Each part of the hand has to be able to give a little - meaning that the wrist, fingers, and thumb should be flexible but firm enough to accomplish the desired stroke. I think a good way to approach the issue of what changes when playing at the tip is to do the following…Play a basic spiccato, near the frog and about mezzo-forte. Observe the movement in the hand. If done properly, you should see the wrist bend and the fingers and thumb retract and extend a little with each stroke. That's pretty much all of the motion you will ever need from those parts of the bow hand. For instance, when approaching the tip on a legato down-bow, right before the change of direction to up-bow, one should expect the hand to act somewhat like it does on the spiccato down bow, i.e, a bit of wrist flexion with the fingers and thumb retracting slightly (probably not as much as on the spiccato stroke). Specifically regarding the thumb, I don't find that its angle in relation to the stick changes much- it's mostly bending at the second joint. I have on occasion allowed that thumb angle to become more right (geometrically speaking) when playing very quietly with only a few hairs in contact with the string. The wrist also has to bend in more for that. Of course, the length of the thumb might affect how it behaves in general, but I haven't really encountered players who were encumbered by having a short thumb.
Other factors that can come into play at the tip are the length of your arm, the length of your bow, and the shape of your bass. These can all affect the degree that you have to extend your arm which relates directly to wrist and thumb angle at that point. It might require getting your body out over the bass a bit more.
I don't find the need to replant my first and index fingers for any stroke. Also, I keep my elbow down, just as if I were reaching out to pick up a glass of water.
Regarding the pinky - I always keep it on the frog. After receiving your question I experimented briefly with holding it off. I felt the tactile input that I'm accustomed to was significantly reduced. I also experienced a reduction of power (even playing legato) because I just wasn't hanging on to the bow as well. It doesn't work for me…
Thanks for writing!
13. Dear Mr. Oppelt,
First off, let me join the chorus of praise for your excellent CD. I bought several copies for my colleagues in my orchestra and we've collectively gone through phases of awe and envy. Remarkable work you've done.
I have a potential question for your web site that no doubt will make you wince. Do you have any warm-up recommendations for a busy person and intermediate player with about an hour a day to practice, who can't always do the recommended half-hour of scales, fourths, fifths, etc.? I get home around 7-8 most evenings and after family obligations and other matters only get around to practicing at about 10. I find that I am gassed after about an hour, most of which is spent practicing parts for upcoming concerts. Should I warm up longer and stop trying to find fingerings for the symphony I am playing? Is there a way of somehow condensing the warm-ups that serious bassists do or is this question the musical equivalent of asking if I need to floss?
I've heard your bass section and they sound wonderful!
No wincing whatsoever - only impressed with your dedication to the hard stuff…scales and flossing!
First, thanks for the kind words about the CD and regarding my colleagues. I've had a lot of fun with the CD and everything it has spawned (mainly, this little website). I know the website looks a bit low-tech but I'm not enough of a computer geek (nor do I have the time) to come up with something flashier.
Regarding the bass section - we have a great one. Most of the players are young and very excited about playing. That's an ideal situation for me…
As to your question:
I guess you've got the same time management issues that a lot of busy people with families have. Hopefully, the music energizes you enough to make it all worthwhile.
I actually don't do a whole lot of scales - I mean, hours at a time. When I was a student at Tanglewood there was a period when I really needed to improve my intonation and I worked hard on them. It gave me a big boost and along with that, I just got pickier about my intonation overall. Now, I mainly use scales as a brief warm up, sometimes just a few, or maybe I'll go through all of them if I have time. About once a week I'll allot more time for scales and arpeggios to reaffirm my dedication to perfect intonation (an elusive goal, mind you), but I don't like practicing them as an end in itself - too boring. I might also focus on a couple of shifts that have given me trouble over the years, or touch on a few difficult orchestral passages, like Ein Heldenleben, Mozart 35,39, and 40, and solos like Ginastera's Variaciones Concertantes. So, in a week I might cycle through all of these things. When practicing a piece, I will often isolate the scale or chord structure of a passage and work on that a bit. But I would guard against overdoing the warm up with too much time on scales, as you will get tired.
Actually, playing legato scales repetitiously and with a full bow uses a lot of energy, more than most solo or orchestral pieces. If one is really just working on left hand finger placement, you'll spend less energy by using only a couple of inches of bow on each note (in the middle) and at a dynamic of about mezzo-piano.
On an issue related to scales, I recall being at auditions where I heard people frantically playing scales before their turn came up, whipping them off nice and loud, but I guarantee that it didn't have a thing to do with whether they were successful on stage. It reminds me of the basketball games I used to watch my son play. Before a game, both teams would warm up at the same time, which was quite entertaining because it gave us a chance to size up our opponent. Our team didn't have any really tall kids, didn't sink every three-pointer, and didn't dunk much; their team was leaping all over the place, had a few "trees", and put on a dunk-fest. But when the game started, it didn't take long to know that we would probably win the game because we had better teamwork and more determination. So, I guess the correlation is that sometimes too much emphasis is placed on scales and it doesn't have that much to do with whether you are a good bassist.
One can also improve intonation by playing passages slower and at a moderate dynamic level. It's less boring than scales and you're actually investing in a piece of music you might perform.
In your particular case, a half hour of scales every night after a tough day at the office doesn't sound like fun (I'd rather have a glass of wine!), or a good use of your time. You'll get along fine doing just a couple of scales. For a change, try warming up for no more than ten minutes on scales and arpeggios and move on to the more rewarding pieces of music.
A final word about warming up…It's vitally important to do a few light exercises and stretches BEFORE you pick up the bass. That's as important as flossing!
14. I'm the assistant principal bassist in a semi-professional orchestra and I'll be doing some duets with one of our flautists in our outreach programs to schools and nursing homes. I was listening to your CD (excellent, by the way) and was wondering if you have published the Pas de Deux or if there is some way I can get the music from you - if you are letting it out to anyone. It's such a wonderful, short piece and would be a lot of fun to perform with my colleague.
I'm glad you like it! Yes, the piece is now available from Ludwin Music and you can order it from their website. Let me know if you have any further questions about performing it...Thanks for writing!
15. Greetings!
I am a teenager in high school and am attending district band. I've been playing the electric bass for almost three years and just recently have been trying to convert to the upright bass. I thought it would be a facile switch but have now learned otherwise. I miscalculated, to say the least! Anyways, I saw your section about German grip and thought that it was fantastic but I really need that same thing for French grip. My question to you is do you have any resources, such as displays or examples, of the French grip? If so that would be amazingly helpful. If not, thank you for your time in reading this. If you have any additional words of wisdom or technique tips, I would be more than thankful to hear them.
I practiced with the French bow for four or five years so I am acquainted with it. However, you should take a couple of lessons with a professional in your area to be sure you're on the right track.
Owing to its design there are fewer options for the basic grip of the French bow than with the German bow. That's not a negative, just a fact, and one reason why there might not be a page out there like my German bow page. But for the basic grip, the fingers lap over the top of the stick with a comfortable spread between them, while the thumb is underneath functioning as the opposing brace and fulcrum. The right corner of the thumb is usually positioned on the stick just in front of the frog and less often, in the curve of the frog. Advanced players sometimes make variations to this as needed. For example, for a light baroque style they might "choke up" on the stick a little, or for heavy orchestral playing they might put the bow deeper into the hand or even "choke down" on the stick. The weight and balance of the bow are always relevant factors. There are players out there who feel a "proper" basic grip will serve every need. I think a beginner should stick with a good basic grip and not get too creative until a couple of years have passed, when also one will be playing more advanced repertoire.
In the first six months to a year the muscles of the thumb and wrist require time to gain strength, so, don't rush it as you could hurt yourself or develop some bad habits with your grip or arm.
Most available method books have photographs of the basic grip. You can certainly find plenty of examples of French bow players in action on the internet on youtube or at Jason Heath's weblog.
16. Hi Mr. Oppelt,
Howdy! I'm a high school student whose first instrument is flute (I have since started guitar and French horn). My best friend is a bass player. We were both curious as to whether a flute/bass duet even existed, and we stumbled upon your site in the process of looking for one. We were wondering if maybe you have a sample mp3 or recording we could listen to. We are both planning on attempting to make music together one day, however, we planned on doing it on guitar and/or French horn, as we both play them. But to have a recording of flute/bass playing together would be a great inspiration to us.
As of yet, the Pas de Deux is not available for download. Part of the reason the music on the CD is not available for download is because it is also an ALS (Lou Gehrig's Disease) awareness and fundraising project. I have dedicated two pages of the record jacket to information about ALS and commemorate two individuals (including my father) who succumbed to the disease. Those two pages would be bypassed with a download. I also send a check to ALS every year from a portion the proceeds. In addition to that, I have participated in the annual Walk to D'Feet ALS in Washington for the past few years.
One of my most memorable experiences was talking to the wife of an ALS patient who said that she and her husband loved listening to the CD and thought it was a wonderful project. Her husband has been essentially a paraplegic for more than ten years (beating the odds!) and is being kept alive by machines. He communicates though a computerized eyeball motion detection system. Such things are very hard to comprehend for most of us…
At any rate, it sounds like you are having fun with music, especially, because you are learning to play so many instruments!
Thanks for writing!
17. Dear Robert,
Can you tell me about your beautiful bass? How long have you had it, what characteristics do you find with playing it and its overall sound? What do you like best about it? How old is it? Does it require a lot of care and feeding? Do you recommend Testores in particular? Italian - versus English? How does it compare to other basses you have owned? What is their price range these days? Enough with the questions!
Thanks for your time...
Thanks for the kind words about my bass…
I bought the bass in 1995 from the Principal Bassist of the Pittsburg Symphony Orchestra. Before that it belonged to a PSO section member. I was told that it was imported from Italy in the 1950s by a former Principal of the New York Philharmonic. When I bought it, the name Testore was associated with it, and it has a label (sometimes fake) indicating such, with a date of 1742.
Sitting in the Principal chair it's important to have a bass that's plenty loud, that you can hear under your ear, and that you think the conductor can hear. Also, it should deliver very full and round pizzicatos. I've been able to play all of the orchestral solos on it with good success. Well, actually, L'Enfant et les Sortilège gave me trouble because I could barely reach the highest harmonics due to the bass's big shoulders and fairly long string length. I could only reach it with my coat off, which I could get away with in those performances because we were in the dark, with a semi-staged production.
Authenticating instruments is a tricky business, and some violin appraisers have been unscrupulous, even receiving criminal convictions. I wasn't exactly sure what I was getting when I bought the bass, but I liked its sound and the price was right. Most appraisers say my bass is Italian and one implied it might be very early English.
The bass has a beautiful shape, quite regal, with large upper bouts. The top is of three pieces - two wings of fine grade cello spruce separated by a slab-cut piece down the middle. It has a flat back of quite poor quality wood with four knots that have been plugged. Many of the old Italian basses were made of low grade wood for economic reasons. A former colleague of mine referred to it as "barn wood". But it proves that the most attractive wood is not necessarily the best sounding. I have seen cellos and violas with simple wood (without "flames") which sound fabulous. David Hardy's cello is a case in point, with plain wood for the ribs and back.
The scroll on my bass is not original, but I have the original in storage. It had sustained some damage and bad repairs, so when the previous owner had the bass in for restoration he just decided to have it replaced, especially, because he would stress it further by installing an extension. The original can always be repaired and reinstalled, but I see no reason to bother with it. When I got the bass, I had to have almost all of the restoration work redone, even though it was performed only a few years before at the hands of a big-name repair man. All of the cracks on the top had come open. It was as if they had been glued on the most humid day of the year and when the top dried out a bit they all pulled apart again. Go figure! The re-glue has held very well for more than ten years and I have had no problems with it, other than a perennial buzz that arrives with the Washington humidity. No one has been able to pin-point the source, so I just avoid taking it outside to places like Wolftrap or the U.S. Capitol. A seasonal buzz is not at all uncommon with old basses.
Some of the big English basses are fantastic orchestra instruments which have an organ-like quality. Tonally, I think they're not as nice as Italian instruments, and they can be hard to hear under the ear. Paul DeNola and Ali Yazdanfar both have excellent English basses.
When I first got into the National Symphony Orchestra, the Principal, Steve Brewster, told me to get a better bass. I bought an old Italian bass with a very long string length (43 ½ inches) which sounded wonderful. I won the Assistant Principal job with it. However, after a few years I was interested in auditioning for other orchestras and I realized it was just too big to execute some of the excerpts well enough. Kind of as an experiment, I bought an Arvi, which turned out to be a pretty good bass and very easy to play, and I performed on it as Assistant Principal for about 9 years. When I won the Principal audition, I realized that I really needed to move up in quality again, so I bought my present orchestra bass. Interestingly, a couple of years after I sold my first Italian instrument, it reappeared in the finals of an audition for our NSO bass section. It was absolutely the best sounding bass there! However, the player did not prevail. It is now in use in another major orchestra.
Ah, prices! I think there has been an effort by dealers in the last ten years to push the price of basses up; new instruments and English basses are way over-priced compared to other stringed instruments. The best new basses are anywhere from $20k to $43k, while a very good new violin or viola can be had for $15k. The best old English basses are $90k or more, and old Italian basses command even higher prices…
In addition to mine, we have some excellent basses in our section. They are: Maggini, Brown, Dodd, Prescott, Panormo, and an unknown Italian. (We are short one player at the moment.) It goes to show that the NSO bassists are dedicated to sounding fantastic!
Thanks for the great question!
18. Mr. Oppelt,
I'm sorry it took so long for me to get this to you, but I wanted to say thank you (about a million times) for the lesson you gave me. I've had plenty of time to practice and I've come to a few conclusions:
For me, the foundation of everything we talked about is the bow hold (German bow). Using your hold, I have a much more efficient transfer of arm weight into the string. Somebody recently complimented me on my playing, so, it confirms that I think I'm on to something.
Regarding bow strokes, I've found that similar to walking and running, there is a point where the stroke transitions from the slower, more pronounced vertical bounce to a "elbow bounce", similar to dribbling a basketball. In Beethoven 5 for example, I find if I move closer to the bridge and use more elbow, I get the heavy stroke I'm looking for. Am I on the right path, or would you suggest a course change?
Your thoughts on the Vanhal were very, very helpful. I've been able to clean the piece up quite a bit. One quick question (among others): Do you make any cuts, ala Roger Scott?
Finally, I was wondering if you could make a string recommendation for me. You mentioned my bass wasn't the clearest sounding, and I like something that would help me get a bit more punch and volume, especially behind the audition screen. Historically, my bass has not liked higher tension strings very much (the ribs are very light), but this was an assumption made a good many years ago, and my technique has changed considerably since then. Heliocores are bit scratchy and raw for my tastes, and the Flexocor Originals sounded great, as long as you were in a 7 foot radius of the bass. I'd love any suggestion you may have.
I'd love to play for you again, and I'm considering a road trip as soon as this summer. I learned very much during our session, and it has inspired me very much. I owe you a tremendous debt of gratitude.
Nice to hear from you!
I'm glad you are feeling good about your playing and I was able to help you with the German bow. I think you understand what I was going for.
To recap...I think what I was going for with the grip adjustment is to feel a more direct transfer of weight by the following changes: slight change of the thumb angle and stick placement on the hand (slightly more toward the joint on the index metacarpal), and a slight straightening of the arm. If you stand up next to a desk and kind of stabilize yourself with your thumb pressing on the desk top, it's similar to that feeling. If your arm is too bent or your thumb is too parallel, you weaken the support mechanism. Your arm has to be kind of a pillar between the "foundation" of your bow and the "upper structure" of your body. The same concept applies to the French bow in regard to the pillar idea -too bent and you won't get a good power transfer.
For a very heavy spiccato, you need to firm up because if the fulcrum (your hand) isn't firm and fairly stable you won't deliver much power.
The "elbow engine" that I described is useful for fast notes of three basic types: at the tip, on the string, played P; the middle or closer to the frog for a spiccato of MF to F; at the frog for a very heavy on the string or maybe long off stoke, played FF. I like your analogy to dribbling a basketball. I would say the elbow motion for that stroke is much like dribbling a basketball a couple of inches off the ground.
Regard the Beet. 5 stroke specifically (so called "trio"), the elbow does flex a bit, but there has to be a firmness running through it at the same time to deliver the appropriate amount of weight to the string. The wrist and fingers will share the duty of actioning the bow. The hold on the bow will also have to be pretty secure - otherwise, there is not good power transfer. It should be played spiccato.
I would like to get a hold of a video camera and put a little example on my website about these things. Problem is, I still have one of those dinosaur VHS cameras! Maybe I'll head to Best Buy...
Regarding strings, I used to use Flexocor, then went to Flexocor Originals. I just put Flexocors back on last month and I really like them. They respond a little better to vibrato on the A and D string in the mid to upper register, but are stiff enough to handle orchestra playing. I might keep them on. My bass had Helicores when I got it but I didn't like the sound under my ear. I also tried Thomastick Spirocores. They are very loud and coarse, and take about 9 months to break in, but they were intriguing. I use a Helicore long E. I recently experimented with Permanents and didn't like them at all. Sounded kind of bland or watered down to me. Every bass is different, of course, and the player.
I don't see any reason for cuts in the Vanhal...
Best of luck, and of course, feel free to write more and even drop in if you come this way.
19. Hello Mr. Oppelt,
I am a first year double bass student at a music school. I came upon your site with great interest and wanted to write to you.
I am constantly searching to expand my musical horizons in hopes of discovering my musical voice and personality. I have taken some lessons with Eugene Levinson, Janne Saksala, and Duncan McTier who I hold in high regard.
Looking at your site and information on the NSO website has made me curious of your technique and pedagogical style. Having had the experiences you have had in your lifetime, notably playing with such a fantastic orchestra and with Maestro Rostropovich, I hope I someday get a chance to have a lesson with you! Your CD is wonderful and your playing is so sublimely refined and musical, truly like the voice of a singer!
One of the defining moments in my musical life was meeting Maestro Rostropovich in New York in 2006. My mom had gotten me tickets to see Maxim Vengerov perform the great first concerto of Shostakovich for my birthday. We were walking down the street and suddenly he was there! I was able to get a photo and have a nice chat with him for several minutes...His vibrancy, strength and passion was evident from every spoken word, and I will never forget the 'bravos' I received upon his hearing that I was a bass player. I'm Lithuanian and the maestro had connections in the Baltic and Lithuanian ancestry. You are so lucky to have been in collaboration with such a great musical mind and more so added your musical skills to create some of the most exciting and riveting performances of so many works.
As mentioned I'm a first year in music school and am dedicated to becoming a professional, also knowing the difficulties and limitations of the business... Needless to say I have a long way to go. I have heard stories about the difficult lives of musicians, much as you refer to in your site. I hope that now and then, if it is all right with you, I could ask your opinion on technical and musical techniques and other such things to get a wide scope of as many musical styles possible. I just wanted to email you and thank you for offering inspiration and practical advice to those of us who aspire to be like you someday. I truly hope we can collaborate in the future.
Nice to hear from you! I love getting emails from young musicians like yourself...
I was in Vilnius with the NSO and Rostropovich in the Fall of 1993. The Baltic "states" were beautiful. I remember in one city (maybe Vilnius) we had no heat in our hotel because the Russians were withholding oil, putting on the squeeze (or so it was rumored…). It was near freezing in my hotel room! We also played in Moscow, St. Petersburg, Riga, and Tallinn on that tour.
Great that you met Slava! He treated everyone he met as family and loved making connections with young people. I'm sure you got the notorious kiss from him. If so, you will always remember that, and it was one of his trademarks. Of course, he was a great musician, especially behind his cello. His performances were riveting. On the conducting podium he drew "colors" from the musicians in the same manner as his cello. Whether sublime or bombastic, it was extremely effective musically. Every note had to be committed. His conducting technique wasn't the greatest, but he got what he wanted out of us.
I think I have always played in a dynamic way, meaning that my technique serves the musical ideas and not the other way around. Slava was that way, too - no compromises. So, being around him reaffirmed that in me. It was also invaluable to observe how he could put a spell on his audience. He was a genius, but like a child, too. Don't give up the child in you!
Of course, I am available to answer any questions or give advice. Thanks for the nice comments about the CD. ..
How great of you to write and I hope to hear more from you (or see you in D.C.)…
20. Mr. Oppelt,
I enjoyed your page about the Mahler 1 solo, especially this part: "You haven't heard yourself play a note in two movements and you hope you've got your bass in tune. The timpani summons you for two
measures, setting the funeral procession in motion."
I had the experience of playing this solo with a metropolitan level professional orchestra. It was a big night. The orchestra was playing for the first time in their newly renovated hall, and a famous soloist had opened the concert with his signature concerto. The house was sold out.
When the timpani came in at the beginning of the 3rd movement, it was very obvious that the orchestra had settled in below A440 - I assume that the timpanist's pitch pipe was in tune. I had literally a few
seconds to decide what to do - match where the orchestra would be after my solo or match the timpani. Ultimately, I went with the orchestra. I am (of course) interested in what you might have done.
I can certainly relate to the predicament you found yourself in. Facing a significant difference of opinion about intonation between the orchestra and the timpani, you were "between a rock and a hard place".
You implied that the orchestra was flat, but, I'm not sure how you could tell that, other than sensing the timpani to be high relative to the notes at the end of the preceding movement. It's hard to imagine such a huge discrepancy, so, I'll assume the timpani was significantly sharp and proceed to address it as a timpani intonation issue…
To avoid finding one's self in such a situation, it's important that you and the timpanist do your homework. You should touch base in a brief session before the first rehearsal to work out pitch, tempo, and balance issues. You should also practice tuning your instruments simultaneously, and on stage in the concert you might even be able to hear each other tune and get a read on things. Even so, Murphy's Law could dreadfully prevail on any given night. I think if I were to detect a reckless timpani coming my way (which is more likely in a lower level orchestra), I would put my head down and just try to play in tune with myself - it's what I do anyway.
The sound of the timpani is a bit diffuse in general and there is often a difference of timber from one drum to the other. Because of this, I think most audience members wouldn't perceive the falseness. I'd think mainly about "numero uno" - being in tune with yourself and executing the solo successfully. Besides, you are followed by the bassoon and tuba, so, you don't want to hand them a "comedy of errors" type of situation. Believe it or not, those instruments fret quite a bit about their turn (especially the tuba) and you don't want to make it any more difficult for them.
It also points to a potential weakness of the fingering I use, namely, that one can't make major intonation adjustments because of the G and D harmonics. (Getting your bass in tune is a priority.) If the timp. is out, there's a very good chance that only one of the drums is out. Well, no matter what your fingering, you don't want to be chasing that one note, certainly. Other fingerings might catch an intonation "curve ball" better, but really, you are just as likely to come across as out of tune yourself if you're intent on matching a bad timpani. I would emphasize practicing with the timp., checking your own tuning before you play, and then ultimately making it your solo (not the timpani's). That fact that you could be forty feet away from the timp. doesn't help, and means that you might not accurately perceive what's going on over there anyway.
I have performed the Mahler solo at least fifteen times and have never thought about adjusting to the timpani pitch. Maybe I was lucky and never faced a timp. that was horribly out. I look to the timp. mainly for rhythmic steadiness. With a couple of big shifts to land I don't want to be late, so I need the rhythmic targets.
On the subject of time, the only conflict I ever had in that regard was with a timpanist who wanted to take rubatos while I was playing. It wasn't a case of poor rhythm, he just thought there was musical cause for it. I had to nix that pretty quickly! The tempo the conductor sets can be an issue, too, and that's another reason why it's good to have an understanding with your timpanist. I'm not suggesting defying the conductor, but in some cases you need your "brother" with the drums to look out for you…
Thanks for the great story/question!...Robert Oppelt
21.
1. How much influence does a conductor (artistic director) have on the players and staff?
A: The conductor has an enormous influence over the musicians and staff. Conductors are given almost dictatorial powers, much like the coach of a football team. Everyone in the organization desires to have a Music Director who is outspoken about his specific goals, ambitious toward accomplishing them, and can do it in a way that is respectful. It's a huge responsibility, and a great opportunity for an imaginative and dedicated conductor to achieve much. The staff makes every effort to satisfy his wishes. The staff includes the Executive Director, Director of Artistic Planning, Production Manager, Artistic Administrator, Orchestra Manager, Personnel Manager, Librarian, and other various assistants. The musicians expect the conductor to be demanding artistically, have an accomplished baton technique, and have musical ideas that are artistically credible - that they can "buy into". They also expect him to have a reasonable temper, be collegial and personally attentive at times, and to handle artistic problem areas or other personnel matters fairly.
2. How does the leaving of a conductor impact players/staff. Do conductors or players slacken?
A: Well, there is an interim period with a bit of a "lame duck" syndrome, but it doesn't affect what happens on stage whatsoever. There is an established professionalism that seems to prevail, and we're all still dedicated to making music, which is our true love. I don't think the players slacken at all when a Music Director is on his way "out the door". The musicians start looking for signs of leadership from the new conductor even before he arrives. The staff, I'm sure, has a tricky transitional period where they must juggle the needs of the new leader and departing one at the same time. There is usually a farewell concert. Rostropovich's was spectacular, with the biggest names making an appearance and paying tribute. I expect Slatkin's to be similar. Usually, the outgoing MD takes a seat in the audience, but Slatkin will be conducting something at his farewell.
3. Going along with last question. How does new the conductor impact the orchestra?
A: We're looking for some bold moves artistically, and for the quality of the performances to improve. We expect more press coverage and an effort to reestablish ourselves artistically, with more tours and possibly some recordings. Beyond that, we hope he lives up to expectations and is a good leader.
4. How does the NSO go about getting a new director?
A: There's a search committee that does all the hard work. It's made up of board members, top staff, and a few orchestra musicians. Orchestra representation on that committee is at least 33%, and a 2/3 majority vote of the committee is necessary to appoint a new Music Director. This particular search is not any more secret than the last, it's just that it is taking a lot longer and the musicians are impatient. The search committee has managed to maintain secrecy. I don't know any musicians who have been tipped-off.
5. And about the Union - are you a part of it, and does it help to be a part of a Union? How does the Union affect the orchestra?
A: If they are not already, a musician has to become a Union member once they get in the orchestra. All of our contracts have been negotiated through the Union. I can't imagine the musicians ever giving up Union representation, as our labor conditions and pay have improved tremendously with it. Our musical forefathers endured tough times, including strikes. You could write a whole book on the subject.
22. Dear Mr. Oppelt,
I'm currently preparing for my senior recital in college and I would like your advice on tuning for my bass. Do you prefer solo or orchestral tuning? My program will contain mostly more modern works (Hindemith, Koussevitsky etc.). My bass has an extension so does that eliminate solo tuning?
Thanks for your help…
I'm sure you know that solo tuning is a controversial subject... I was taught that solo strings are the best way to get that soloistic quality which can begin to compete with the other string instruments. Certainly, solo-tuning is best if the piece is composed with that in mind. Hindemith's sonata, for example, is one of those works, and I doubt that there is an orchestra-tuning piano part for that because the piano writing is technically demanding and complex. If it does exist, I would bet that the slow movement sounds a bit muddy. Koussevitsky used solo-tuning, so, that's a good reason to play his works that way. Pieces like Vanhal and works by Bottesini are aided with solo-tuning. There is sufficient string tension for a big sound but one can get the strings down to the fingerboard a little easier.
In other situations, the sound of the instrument might be the main consideration. If a bass is on the small side and has a focused sound, it will tend to project solos better than a big bass which one might use in an orchestra. A light gauge orchestra string might do the trick.
Solo tuning can play tricks on your mind, too, because your ear expects one pitch while it hears another. This can be an issue even if you don't have perfect pitch. Your musical "being" is used to something else, and it's one more thing you have to process.
I've tried certain orchestra-tuning strings that are popular with a few solo players - Corellis come to mind. I just couldn't get a big enough sound and found that they couldn't tolerate the amount of bow pressure I use. There certainly are a variety of strings available nowadays, but I really haven't taken the time to isolate which ones might be better than solo tuning. A lot of my younger colleagues have invested more time in that, so, if someone is interested I could poll them. I use Flexocors now, for both orchestra and solo playing.
Regarding your recital, if there's a mix of solo and orchestra tuning pieces you either need two basses or have to change strings at half-time. (You'd need a contraption hooked up to a drill to do it quickly. Best to find someone to do it for you...)
You can get a long F sharp string, too. I had one on for the Barnett Serenade I recorded - a Flexocor. Your bass will be happier with it, as the tension will remain balanced. Without it, you'd have to transpose a couple of things on the E string for the Hindemith, and just one note for the Koussevitsky, I think.
Thanks for writing, and break a leg on your recital!
23. Hello Bob,
Thanks for giving me a couple of short lessons at the 2008 Summer Workshop. I had a follow-up question about holding the bow. I was looking at the Get A Grip article on your website and was wondering which number grip was the one you showed me. 11 looks the closest, but 8 also seems a little similar.
I was definitely trying to introduce you to no.11, the grip I prefer. Just to comment more on the differences with no. 8 - you can see that no. 8 has the stick set more in the bottom of the "trough" that exists between the thumb and the first finger and that the thumb runs more along the length of the stick. This forces the wrist to bend too much, which also strains the arm and shoulder a bit as they try to accomodate it. In no. 11, the stick rests more on or toward the joint of the first finger (which is quite firm) and it is evidenced by a small gap between the side of the thumb and the stick. The thumb itelf is more on a 45 degree angle across the stick rather than along it.
The effect is really just changing the orientation of the stick to the hand and arm, bringing it a few degrees more toward 90 degrees, and it also effectively lengthens your bow arm by removing some of it's curve. The straighter arm and wrist are stronger but more relaxed, and the power transfer is more direct. As I said, the thumb might want to slide off at first, but should hold place in a couple of weeks.
Most students of German bow have the bent wrist and arm and hold their elbow up high. It causes strain and they really can't draw the bow straight. The arm, in my opinion, should basically keep the bend and orientation that is normal when your arm hangs by your side. Just lift the whole arm up and that's what your bow arm should look like, for the most part.
Good luck with it, and I'd be happy to answer any more questions.
More below!...