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Double Bass Appreciating the Upright Bass
- Thread starter TunnelPig
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I certainly give props to those who do use their real names on this board, but at the same time, the advice has to stand or fall on its own merits. I think it's pretty clear that the advice given here has been generally consistent and worthy, regardless of the source's name.
I have what I think are good reasons for wishing to preserve a degree of anonymity here, and I assume that others do to until they reveal themselves as no more than slavering bottom-dwellers. However, I certainly try not to say anything that I wouldn't be happy to say in actual conversation with my virtual interlocutors.
That said, if anonymous comments are considered less credible, I understand and can deal with it.
If you want a degree in bass learn both basses and learn them both well. Take advantage of that time to learn everything about the bass - not just what you already know and like. You will be more employable as bassist and a teacher (I studied with a fantastic electric bass teacher who was able to spend some time with Jaco - I don't play BG in public 99% of the time anymore but I do love to teach it and I am good at teaching that instrument).
If that doesn't concern you I'd strongly suggest changing your major to something non-musical and more practical.
If that doesn't concern you I'd strongly suggest changing your major to something non-musical and more practical.
No offense taken. Thinking about the extinction of the upright bass, I'm reminded of this picture:
I know you're frustrated, but the first thing to do is, get your misconceptions about the upright bass out of your head. A distorted view of reality isn't going to help you at all.
In my view, the upright bass is as popular as ever, and may even be enjoying a resurgence. Upright is establishing itself as a melodic or "front line" instrument in almost every genre except popular music, where songs and singers will always reign supreme. Upright bass has widespread and sophisticated formal education programs from junior high through graduate school.
Having followed threads on the BG forum, I gather that "what to do about college" is an unsolved problem for most young BG players. College degree programs in electric bass performance are few and far between. You accepted a compromise that got you into a college music program.
Bottom line. It's rough out there. Right now you are sequestered in so many ways and can't see down the road. What you find when you get out there and try to do this for a living is that you wasted A LOT of time. Because right now as you debate whether or not you like the double bass and should study harder than you ever imagined there is a kid, in his room or with a teacher who IS doing what you don't feel the need to do. In fact, there are thousands of them, right now, working on every aspect of the bass both acoustic and electric. Like it or not, you are in direct competition with these players and you will NOT GET THE GIG. THEY WILL! And you'll end up trying to get your **** together years from now while you watch the young kids around you kick your ass all over the room. There is no point in doing this halfway. If you hope to even gig on a medium level you are going to have to bust your ass, swallow your pride and do the work that it takes to be a pro. Don't imagine you're different or special or exempt from the forces of the market. If you don't feel this overwhelming burn, this all encompassing gut wrenching fear that you are going to be a failure and working at the A&P if you don't develop something solid, broad and artistic on the bass you better get it fast or change your plans. I couldn't be too harsh on this point. You simply will not make it. Now, stop complaining about what you think you need and don't need and start busting your ass in every way to become a complete musician. PRONTO!
Jake deVilliers
Commercial User
- May 24, 2006
- 6,349
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- Owner of The Bass Spa, String Repairman at Long & McQuade Vancouver
I think Dono took you seriously, i'm hoping you have a wonderful sense of sarcastic humor. Please tell me it's so.
If not, me? I'm 70 frickin' years old and have been playing NOTHING but jazz double bass for over 55 years and dunno what the **** "new school" is.
EDIT: And if I hear one more person talking about how accepting the BG is in REAL jazz, i'm sendin' out MY
BOYZ then headin' fer the valium cabinet.Don't listen to these dinosaurs, kid. Just wait 'em out. I give Paul 5 years tops. If old age doesn't get him, someones sure to choke him to death.
I kid, but seriously, if you don't like it, don't play it. Find a school that caters to your viewpoint, and go there. All the times I've faked my love for a style or way of playing, I have regretted it.
I kid, but seriously, if you don't like it, don't play it. Find a school that caters to your viewpoint, and go there. All the times I've faked my love for a style or way of playing, I have regretted it.
I disagree, either do the work for a bass degree or get out there and just play. A degree in the instrument should be about a standardized competency across the field, nobody needs school to just do what they love.
I would say you need to decide what's best for you in the long term. I'll give you my perspective on the issue, for what it's worth. I started out on BG, played it for about 12 years before getting into DB. Granted I chose to take up the DB, but I have felt a lot of the frustration you express. I thought it would be a piece of cake to pick up the DB, fast forward 12 years later, I still feel like a newbie at times. I spent 2007-2008 debating whether or not to just go back to BG exclusive. I reached a point where I felt tired of always working a bit harder to play the instrument. The BG offered me faster results, I could sight read easier on it, could play more of what I heard on it, and over all felt more competent. In the end I still love playing the DB AND the BG. I use each in the situations I feel best suit the instrument. I love lots of jazz, including guys who play BG in jazz, soul, rock. I have a few gigging situations and I can switch between the two instruments a couple of times a week. I'm happy this way.
I think taking on the DB is hard, especially if you're accomplished on the BG. The difficultly in a situation like that can tough to get through. My advice is give it time, you may get over the hump and enjoy the DB, or you'll just finish the class and never look at one again.
I think taking on the DB is hard, especially if you're accomplished on the BG. The difficultly in a situation like that can tough to get through. My advice is give it time, you may get over the hump and enjoy the DB, or you'll just finish the class and never look at one again.
Agreed, for sure. But, I think artistic, career and educational choices need to be separated here. There are very few true doublers, we are all just going to favor one over the other.
In your case, you can make a gig on either and take on students of either, that is where education, whether through private or institutional instruction comes in.
I keep a very narrow, art-for-art sake only concert schedule, but I have found I love to learn and teach every aspect of either instrument.
In your case, you can make a gig on either and take on students of either, that is where education, whether through private or institutional instruction comes in.
I keep a very narrow, art-for-art sake only concert schedule, but I have found I love to learn and teach every aspect of either instrument.
Good point Damon, to be clear though. I take the gigs I take because I really do enjoy playing both instruments and playing the music I play on them. I am not a great doubler by any means, I just wouldn't enjoy music as much if I limited what I do. I took up the DB for the sound and feel and love of jazz. I went to school to study jazz, but also to be the best musician I could be.
My life wouldn't be the way it is, for better or worse, if I didn't double. I think the OP should really consider the possibility of sticking with the DB at least while in school.
TunnelPig, I don't see where others have mentioned this, so . . .
seems to me that you may have been assuming that you would take a lot of your BG experience and simply transfer it to a larger, similar instrument. I don't really play either BG or DBI've just played at thembut from what I've seen, someone moving from BG to DB would be better off thinking about it as if they were moving from BG to tubai.e., a completely different bass instrument. If you think like that, I think you'll be less likely to become frustrated by not picking DB up quickly and easily.
Apart from that, it's hard for me to comprehend that you can like jazz and play bass, but not like the DB. What kind of jazz do you like? Only the most modern fusion stuff, or . . . ? You probably don't like the jazz standards and jazz classics at all, right?
seems to me that you may have been assuming that you would take a lot of your BG experience and simply transfer it to a larger, similar instrument. I don't really play either BG or DBI've just played at thembut from what I've seen, someone moving from BG to DB would be better off thinking about it as if they were moving from BG to tubai.e., a completely different bass instrument. If you think like that, I think you'll be less likely to become frustrated by not picking DB up quickly and easily.
Apart from that, it's hard for me to comprehend that you can like jazz and play bass, but not like the DB. What kind of jazz do you like? Only the most modern fusion stuff, or . . . ? You probably don't like the jazz standards and jazz classics at all, right?
You're correct, I learned pretty quickly that really the only thing that my BG experience gave me on the upright was a general sense of where to find notes.
As far as the music I like, yeah, funk and fusion mostly. I don't hate the jazz standards, there's quite a few I enjoy. But they're not my favorite either (yet?). As I mentioned earlier, I felt like receiving a jazz education would be beneficial to my playing in the aforementioned funk and fusion fields. Is this misguided? I don't know.
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