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Double Bass Being Principal and The Source of Volume

I

Illfavor

Mar 9, 2005
199
0
38
DFW
#1
This is a double-whammy thread, addressing two rather important subjects.

Firstly, what do you guys think are the most important responsibilities of being the principal player in an orchestra? I've gathered that you should set the standard for volume, pitch, intonation and other musical qualities, but are there other things? Like, passing around fingerings or making inquiries to the conductor? Also, do you think it's important to have a good relationship with the other principals of the orchestra and attempt to standardize bowings and style?

Secondly, I've oftetimes felt like I'm not producing enough volume. I find myself sinfully "pressing down" because I don't project enough, ESPECIALLY in solo playing. It's an issue because I've had to perform in Halls and outdoor settings many times, and it seems like my sound just evaporates. I've heard that the sound ought to "come from the back" or something like that, but I've had trouble implementing that idea. Any suggestions on getting maximum volume, while maintaining clarity?
 
#2
Illfavor said:
This is a double-whammy thread, addressing two rather important subjects.

Firstly, what do you guys think are the most important responsibilities of being the principal player in an orchestra? I've gathered that you should set the standard for volume, pitch, intonation and other musical qualities, but are there other things? Like, passing around fingerings or making inquiries to the conductor? Also, do you think it's important to have a good relationship with the other principals of the orchestra and attempt to standardize bowings and style?

Secondly, I've oftetimes felt like I'm not producing enough volume. I find myself sinfully "pressing down" because I don't project enough, ESPECIALLY in solo playing. It's an issue because I've had to perform in Halls and outdoor settings many times, and it seems like my sound just evaporates. I've heard that the sound ought to "come from the back" or something like that, but I've had trouble implementing that idea. Any suggestions on getting maximum volume, while maintaining clarity?
Click to expand...

The most important thing is to lead the section. Give good cues so that the section can play with you. Everyone should be watching the first stand to see when to come in. It's important to have an assistant principal that is with you because not everybody can see the principal at all times. They can usually see at least one person from the first stand though.

If there are any bowing changes that you want to make you need to make sure they get around the section. Try to do bowing changes in one of the first rehearsals. Try to keep bowings as consistent with other sections as possible but do whatever bowing sounds best. Sometimes the bowings that other sections do don't work well on bass.

The only person that should ask the conductor questions is the principal. Most questions you should try to ask during the breaks or before or after a rehearsal. Sometimes it is necessary to ask questions during the rehearsal but try to avoid it.

It is definitely good to have a good relationship with the other principals. You should try to have a good relationship with everyone that you work with. The music making experience will be more enjoyable that way. To stay on the conductors good side watch him/her as much as possible. Give them a big smile every once and a while. They love that.

To get more sound use more bow and get the bow closer to the bridge. When the bow is closer to the bridge the upper partials of the harmonic series will come out more and will cut through easier. It will sound a little harsher right under the ear but it will sound fine once you get to where the audience is.

The more in tune a section is the louder they will sound. It's amazing how loud an in tune section can sound.
 
#4
+1 on Cory Palmer's reply. I think that pretty much says it all. In terms of leadership style, you probably have to find your own way, but I've always preferred principals who lead by example, rather than turning around and yapping all the time, and I try to do the same when I'm principal. That depends, in part, on your section being attentive as well, though.

On projection, the louder things get on stage the more I want to "feel" the bass rather than actually hear it. If your can feel a big resonance then you're probably projecting. It's easy to start pressing for more sound when everything is being swamped by the trumpets and trombones, but the more pressure you put in the string the less weight you have, and therefore less sound/volume.
 
#5
Don't forget that bow speed is also a huge factor of volume. Pressing too hard can actually choke the string, which results in less volume. Try easing up a little bit on the bow pressure and use more bow. I find that this also gets a better quality of sound.
 
#7
Also, with the off-the-string approach advocated by most people in orchestral playing (clarity over volume, eh?) what's the best way to get more volume? I feel like i can't get above a mezzoforte doing a brush stroke.
 
#8
Illfavor said:
Also, with the off-the-string approach advocated by most people in orchestral playing (clarity over volume, eh?) what's the best way to get more volume? I feel like i can't get above a mezzoforte doing a brush stroke.
Click to expand...
With a relaxed bow arm that lays into the string on each stroke. This will also enable the bow speed to be faster and therefore more bow is used on each stroke.
 
#9
Illfavor said:
Also, with the off-the-string approach advocated by most people in orchestral playing (clarity over volume, eh?) what's the best way to get more volume? I feel like i can't get above a mezzoforte doing a brush stroke.
Click to expand...

The cleaner the playing the louder it will appear. Even if it is actually a little less volume. The hall that you're playing in will determine how off the string you need to be. For example, The Boston Symphony needs to play very off the string because their hall is so resonant and they don't need to push hard to be heard. Then look at the Atlanta Symphony, their hall is dead so they play very much into the string and lots of bow. They still get the articulation but they can't play as off the string as Boston and still be heard.

To get a brush stroke louder try starting the stroke from the string instead of from above it. Also experiment with playing with the bow at different points on the string.
 

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