2nd bass instructor for upright or wait a year then switch?

[Depechionista]

I found a teacher that I really enjoy working with. I'm getting a lot of help with understanding and applying theory and I've gotten leaps better at sight reading and improvising. The only downside is he doesn't play upright. As someone not looking to play professionally, is it realistic to work with someone else intermittently? I hear about music school students working with different people as a part of their studies, but not amateurs.

My half baked plan is to rent a bass, meet the upright person weekly for the summer to get a few basics down. After that, decide if I want to commit to buying a bass. Drop lessons to once a month to get feedback/direction on what to improve. Look for people to play with. Is that something realistic to look into or would it make more sense to focus on bass guitar for another year then switch to double bass lessons 100%?

If it helps: I think I'm intermediate. I've played for a year and a couple of months. I play with other musicians a couple times a week. I can figure out most rock songs relatively quickly. Funk, jazz, and soul, I have to work at a bit more, but I can play functionally with practice. I struggle a bit with singing and playing if I don't know both parts well.

 

[thehindteet]

I think it is probably a question that you'd have to pose with the person you'd be studying DB with. I know some teachers who will happily give you any number of lessons at any time if they have the slot open, but I know some others who don't like to teach people unless the lessons are structured in a way where they feel like they're able to see that you're making progress and they want to have holes randomly opening and closing in their schedule.

whether an irregular schedule can work or not is really tough to say; I think if you have a history of studying an instrument your odds are a lot better though, since you've already learned how to learn and now just need to put in the hours on a challenging instrument.

 

[dc-upright]

I am doing bi weekly 1+ hour electric lessons and just started weekly half hour lessons on upright.

the upright lesson is focusing on the bow and the electric lessons are more music theory based.
so far they are going together very well!

 

[AGCurry]

My half baked plan is to rent a bass, meet the upright person weekly for the summer to get a few basics down. After that, decide if I want to commit to buying a bass. Drop lessons to once a month to get feedback/direction on what to improve. Look for people to play with. Is that something realistic to look into or would it make more sense to focus on bass guitar for another year then switch to double bass lessons 100%?

SO much of learning double bass involves the bow. Even if you plan to play pizz only, using the bow is the only way to develop solid intonation. Either of the options you present are good.

 

[DJ Bebop]

SO much of learning double bass involves the bow. Even if you plan to play pizz only, using the bow is the only way to develop solid intonation. Either of the options you present are good.

I've got a Kay M-1 I've been pizzing on for a long while without a bow. Was thinking of a glass/horsehair combo for learning.

Any suggestions on either that kind of bow, or something else to learn with?

 

[Depechionista]

I am doing bi weekly 1+ hour electric lessons and just started weekly half hour lessons on upright.

the upright lesson is focusing on the bow and the electric lessons are more music theory based.
so far they are going together very well!

That's good to hear that's it's going well! Are you doing both with the same teacher?

 

[dc-upright]

That's good to hear that's it's going well! Are you doing both with the same teacher?

no, the electric guy who I have been with awhile does not play upright!

 

[Killing Floor]

DB is different than electric bass guitar. I’m probably not the first one to point that out. If you have a teacher you like for one instrument there is no compelling argument to use that teacher for a different instrument simply because they both have “bass” in the name.
I still take some lessons for bass guitar and guitar with different instructors even though they both have the word “guitar”. They are different instruments and require different techniques. It’s possible one teacher can teach both though. But not mandatory.

 

[Depechionista]

no, the electric guy who I have been with awhile does not play upright!

Ah okay. That's fair. I may end up doing the same if it does look like something I'd like to commit to. I think it's really cool that you make time for both!

 

[Lo-E]

All of my teachers over the years have been doublers; music school cats who’s first instrument was DB and then they went on to play electric. For my purposes, though, that didn’t matter. I only ever studied one or the other with each teacher so it wouldn’t have mattered if they were doublers or not.

As far as studying both concurrently, only you can decide if you have the bandwidth to apply yourself to both at one time. I know that, in my case, I can’t. I work long hours and also keep a busy music schedule for which I have to work on material. For me to then try to keep up with a lesson plan for two different teachers at the same time would probably give me an aneurysm. Well…. probably not an aneurysm, but I would fall behind on my studies and end up wasting my money and my teacher’s time.

If your current situation allows you to devote yourself to two teachers’ material I say go for it! As long as you’re staying on top of the study material, lessons with a good teacher are never a waste of time, IMO.

 

[Depechionista]

DB is different than electric bass guitar. I’m probably not the first one to point that out. If you have a teacher you like for one instrument there is no compelling argument to use that teacher for a different instrument simply because they both have “bass” in the name.
I still take some lessons for bass guitar and guitar with different instructors even though they both have the word “guitar”. They are different instruments and require different techniques. It’s possible one teacher can teach both though. But not mandatory.

Definitely! I don't have any issues with working with two different people and wouldn't automatically expect one person to do everything. I won't pretend that I wouldn't appreciate the convenience, though!

 

[dc-upright]

All of my teachers over the years have been doublers; music school cats who’s first instrument was DB and then they went on to play electric. For my purposes, though, that didn’t matter. I only ever studied one or the other with each teacher so it wouldn’t have mattered if they were doublers or not.

As far as studying both concurrently, only you can decide if you have the bandwidth to apply yourself to both at one time. I know that, in my case, I can’t. I work long hours and also keep a busy music schedule for which I have to work on material. For me to then try to keep up with a lesson plan for two different teachers at the same time would probably give me an aneurysm. Well…. probably not an aneurysm, but I would fall behind on my studies and end up wasting my money and my teacher’s time.

If your current situation allows you to devote yourself to two teachers’ material I say go for it! As long as you’re staying on top of the study material, lessons with a good teacher are never a waste of time, IMO.

I have only taken 2 upright lessons so far but have been able to keep up so far because I am retired and have played both instruments for years plus I don’t gig as much as I used to.

I decided to make use of some of my retirement time getting better. I have never used a bow before and it is humbling to say the least. The electric lessons are from a Nashville studio guy and he is very very helpful and a great guy as well.

the upright guy owns a music store and is a fabulous teacher. You can tell he has been teaching a long time!

 

[Depechionista]

All of my teachers over the years have been doublers; music school cats who’s first instrument was DB and then they went on to play electric. For my purposes, though, that didn’t matter. I only ever studied one or the other with each teacher so it wouldn’t have mattered if they were doublers or not.

As far as studying both concurrently, only you can decide if you have the bandwidth to apply yourself to both at one time. I know that, in my case, I can’t. I work long hours and also keep a busy music schedule for which I have to work on material. For me to then try to keep up with a lesson plan for two different teachers at the same time would probably give me an aneurysm. Well…. probably not an aneurysm, but I would fall behind on my studies and end up wasting my money and my teacher’s time.

If your current situation allows you to devote yourself to two teachers’ material I say go for it! As long as you’re staying on top of the study material, lessons with a good teacher are never a waste of time, IMO.

I can work with two teachers, but as you stated, something has to give. The downside for me would be pausing on the social/collaborative aspect of learning and playing like jams or being in any kind of regularly occurring band or ensemble. Although, I'm sure my band director would be ecstatic if I played DB instead.

 

[MattZilla]

A lot of great points made already.

Learning piano well enough to play & sing all of your favorite songs on from someone primarily using the instrument to teach you music theory can go a long way in developing useful connections in your brain that may be of benefit in any industry you do intend to pursue a career in.

 

[Les Fret]

using the bow is the only way to develop solid intonation. .

I play upright too for a long time and also teach. I agree that the bow is very good for learning intonation. But I strongly disagree that that’s the ONLY way. If that is the case how could fretless players ever intonate well? If you have an upright with a focused sound you can hear the notes just as well pizzicato.

 

[AGCurry]

I've got a Kay M-1 I've been pizzing on for a long while without a bow. Was thinking of a glass/horsehair combo for learning.

Any suggestions on either that kind of bow, or something else to learn with?

Spend some time in the "Bows and Rosin" subforum. You'll find that fiberglass bows are not in general highly regarded, while many carbon-fiber bows are considered quite adequate, and some are very good. The quality of the hair matters, too.

Then there's "French or German?"

 

[DJ Bebop]

Spend some time in the "Bows and Rosin" subforum. You'll find that fiberglass bows are not in general highly regarded, while many carbon-fiber bows are considered quite adequate, and some are very good. The quality of the hair matters, too.

Then there's "French or German?"

Yeah, that French or German thing.
I'm not sure which way I swing on that. Played violin growing up so I kinda lean French, especially on the lower strings. But I like the power of the German bow, but I don’t know what I'm doing so…

Carbon Fiber!

Thanks!

 

[AGCurry]

I play upright too for a long time and also teach. I agree that the bow is very good for learning intonation. But I strongly disagree that that’s the ONLY way. If that is the case how could fretless players ever intonate well? If you have an upright with a focused sound you can hear the notes just as well pizzicato.

Fretless bass guitars have more volume and sustain than double basses, giving the player chances to adjust.

I played only pizz for decades, and I thought my intonation was pretty good. The bow exposed my shortcomings, and I would not have realized those shortcomings without it.

Yes, I probably should not have used the word "only," because there are probably some gifted players with sensitive ears who've never bowed and have great intonation; but for the great majority of players, the bow is the best path to good intonation.

 

[the_Ryan]

Yeah, that French or German thing.
I'm not sure which way I swing on that. Played violin growing up so I kinda lean French, especially on the lower strings. But I like the power of the German bow, but I don’t know what I'm doing so…

Carbon Fiber!

Thanks!

My advice is to pick the one that's more immediately comfortable to you and stick with that. There are things that each bow does naturally that the other bow has a harder time with, but ultimately you'll be able to do pretty much anything you want on either bow.

Also +1 to carbon fiber: fiberglass bows aren't great, and wood bows under $1000 can be really hit-or-miss. Carbon fiber bows are generally thought to have a bit less complex of a sound as wood bows, but at the sub-$1000 price point they usually respond and feel much better than less expensive wood bows, which if you're just starting with the bow I believe is more important.

I found a teacher that I really enjoy working with. I'm getting a lot of help with understanding and applying theory and I've gotten leaps better at sight reading and improvising. The only downside is he doesn't play upright. As someone not looking to play professionally, is it realistic to work with someone else intermittently? I hear about music school students working with different people as a part of their studies, but not amateurs.

My half baked plan is to rent a bass, meet the upright person weekly for the summer to get a few basics down. After that, decide if I want to commit to buying a bass. Drop lessons to once a month to get feedback/direction on what to improve. Look for people to play with. Is that something realistic to look into or would it make more sense to focus on bass guitar for another year then switch to double bass lessons 100%?

If it helps: I think I'm intermediate. I've played for a year and a couple of months. I play with other musicians a couple times a week. I can figure out most rock songs relatively quickly. Funk, jazz, and soul, I have to work at a bit more, but I can play functionally with practice. I struggle a bit with singing and playing if I don't know both parts well.

Are you currently seeing your bass guitar weekly? If you are and you want to commit to doubling my recommendation is to see each teacher every other week. I think double bass requires more consistent reinforcement of technique in the early-to-intermediate stages of playing, and I think a month between lessons is too little hands-on time with your teacher. I definitely don't think you should give up bass guitar lessons entirely either. I echo what others have said: even though both instruments have "bass" in the name, have the same function in their respective genres, and have the same notes, the approach to both instruments is vastly different and it will require dedicated focus on both, at least initially.

 

[Les Fret]

Fretless bass guitars have more volume and sustain than double basses, giving the player chances to adjust.

I played only pizz for decades, and I thought my intonation was pretty good. The bow exposed my shortcomings, and I would not have realized those shortcomings without it.

Yes, I probably should not have used the word "only," because there are probably some gifted players with sensitive ears who've never bowed and have great intonation; but for the great majority of players, the bow is the best path to good intonation.

That's why I don't like upright bass with unfocused tones and use brighter steel strings and not too high action. A bit like Stanley Clarke or other players with clear sound. In that case it's no problem to practice intonation pizzicato. I can hear the tones on my upright almost just as well as on my fretless bass. But if you use a muffled unclear old school tone I agree with you. I also agree that the bow is great for learning intonation but not totally necessary for everyone.