Foundational Bass Technique for the Non-Bassist

In the decade or so that I've spent performing and teaching as a double bassist, I've discovered a problem that is nearly always present in young ensembles: very few directors/conductors understand how to help their bass section. A good director knows that a properly-functioning bass section is both the rhythmic and harmonic foundation of the orchestra, but most non-bassists lack the tools to help young bassists develop the technical skills necessary to carry that weight. I will be sharing some ideas for conquering a few of the most common challenges that face beginner and intermediate level double bassists.

Proper basic positioning is of course an essential part of learning any instrument, but the physical dimensions of the double bass create some additional challenges. The majority of basic positioning problems that I see fall into one of two categories: bass height and left hand/wrist shape. When the bass is at the correct height, the student's left thumb should be somewhere between their nose and eyebrows when in first position. This literal "rule of thumb" applies whether the student plays standing or sitting. If the ideal height is somewhere between the notches on the bass's endpin, it's better for the bass to be a bit too low than a bit too high. I've also found that inadequate attention is given to the left wrist. I can remember my eighth grade orchestra teacher (a wonderful and inspiring person) telling me over and over to keep my left elbow up so that my hand wouldn't lose proper shape. While she correctly diagnosed the problem, she didn't know the best way to correct it. The left wrist joint should always be flat, and the height of the elbow will be different from student to student based on their unique physiology. If the wrist joint is bent either too far up or too far down, it makes maintaining a good left hand shape much more challenging.

Because of the size and string length of the bass, frequent and large left hand shifts come into play much sooner than with other string instruments. Nearly all two octave scales require the student to play in thumb position, which is a major challenge for the teacher as well as the student. Confidence when transitioning into/out of thumb position and solid left hand shape are essential for pitch security and tone quality in the upper register. In thumb position, the thumb should be parallel to the floor with first, second, and third fingers curved at the middle joint (fourth finger/pinky isn't used in thumb position). The contact point is much more on the tips of the fingers in thumb position, versus the pads of the fingers in the lower positions. When shifting in thumb position, it is important that the thumb moves along with the left hand as a complete unit to sustain contact with the fingerboard and to develop muscle memory. To maintain a consistent dynamic level in thumb position, it's a good idea to keep the distance between the left hand and the bow the same as the left hand moves into the upper register. The closer the left hand is to the bridge, the closer the bow should be to the bridge as well!

Speaking of the bow... It's HARD to get a good sound with the bow. A common pitfall when directors want more or better sound from their bass section is to ask for more bow and/or faster bow speed. This isn't a good strategy for bassists. The strings are thick and can be cumbersome, and require a fair amount of weight on the bow to pull a good sound out. Often, a slower bow with focused weight application will produce the desired increase in sound quantity as well as quality. Work with your student bassists to make sure that all the weight is applied to the bow before the bow stroke begins. The "dig" at the beginning of each stroke is essential to developing a good core sound, and it helps eliminate a lot of the scratchy, thin sounds that can plague young bassists when the bow doesn't fully engage the string.

Lastly, don't be afraid to pick up a bass and acquaint (or reacquaint) yourself with the unique challenges that face your bass section. Maybe even find a teacher and take a few lessons! If it's in your budget, consider bringing in a local or regional bassist to work with your section a couple of times per semester. Developing a solid bass section will pay dividends not only for your bassists, but for your ensemble as a whole.