Double Bass Community Orchestra Yay or Nay?

[Ed S]

I'm kinda of the opinion that a rising tide lifts all boats. You sound like you are putting in A LOT of effort. I'm not sure you need to choose one or another. So long as you are doing whatever you are doing intentionally, all aspects will improve - tho none necessarily at the rate it might if you did ONLY that.

If I were in your place I'd probably focus on my lessons, practice what my teachers assign, and bring my orchestra's current music to have them incorporate it into their lessons/your practice. How many basses are there? How good are the #1-2? Unless you are the principal or only bassist, with the level of effort you are expending you could likely contribute in the back of the section with limited practice outside of rehearsals. You don't have to sweat over attempting perfection in every challenging passage.

I recently posted my reasons for quitting my community orchestra. (The way these things work, I since learned of another VERY high level BG jam I can join nearby. If I heard correctly, one amazing guitar player at that jam just so happens to be 2d chair bassist in the CSO! Yeah - I'm eager to embarrass myself there! ) I started playing with the orchestra mainly because I knew it would improve my bluegrass/oldtime chops. But the time I spend on BG/oldtime - improves my classical. Doesn't have to be one or the other.

 

[sean_on_bass]

I had the opportunity to attend a week long orchestra "camp" recently. After spending a dedicated week of music study, practice, workshops, rehearsals, and performance, I've been thinking about dropping out of my community orchestra to spend more time building a stronger foundation. I'm concerned about losing momentum as an adult learner if I drop and potential injuries if I stay.

I'd like to gather perspectives outside of my own on the pros and cons of staying with an ensemble vs taking a pause to grow.

I can share the pros and cons separately if it's helpful.

Personally i think playing in an ensemble is the best thing you can do for your growth, plus it doesn't preclude you from continuing more independent practice or time with a teacher.

 

[Mark_T]

I am a moderately advanced amateur, and I get a lot out of playing with an orchestra, but there are some caveats, too.

Some things to think about

• Basses don't get to play a lot of chamber music, so this is your best chance to play with others
• You'll stretch your repertoire
• You'll learn (or reinforce/practice) valuable listening, watching, and counting skills
• You get to hang with other musicians (find an orchestra where the hang is good, don't be a jerk or tolerate jerks)

On the flip side, depending on your level of skill and experience, it's easy for prepping for orchestra to take over your practice time. Do come as prepared as possible to rehearsals, but don't neglect your own growth and development. I made this mistake for a long time, just bringing my current orchestra rep to lessons. The problem was that it left me in the trap of never focusing on acquiring the skills and techniques and musicality that it takes to play that repertoire well. I was always running from behind, woodshedding for the next concert, and never looking ahead.

Now I generally avoid asking for help with orchestra repertoire unless there's a very sticky problem, or if the rep is part of the standard audition repertoire, or if there's some other specific pedagogical value or relevance. I think I've grown a lot since this decision and it's much less frequent that I encounter something I don't already have the tools to solve on my own, given enough time. I think that's closer to how pros work too - they build their tools and skills so learning the next piece isn't as tough, and they can pivot from concert cycle to concert cycle quickly.

Have fun!

 

[Depechionista]

I'm kinda of the opinion that a rising tide lifts all boats. You sound like you are putting in A LOT of effort. I'm not sure you need to choose one or another. So long as you are doing whatever you are doing intentionally, all aspects will improve - tho none necessarily at the rate it might if you did ONLY that.

If I were in your place I'd probably focus on my lessons, practice what my teachers assign, and bring my orchestra's current music to have them incorporate it into their lessons/your practice. How many basses are there? How good are the #1-2? Unless you are the principal or only bassist, with the level of effort you are expending you could likely contribute in the back of the section with limited practice outside of rehearsals. You don't have to sweat over attempting perfection in every challenging passage.

I recently posted my reasons for quitting my community orchestra. (The way these things work, I since learned of another VERY high level BG jam I can join nearby. If I heard correctly, one amazing guitar player at that jam just so happens to be 2d chair bassist in the CSO! Yeah - I'm eager to embarrass myself there! ) I started playing with the orchestra mainly because I knew it would improve my bluegrass/oldtime chops. But the time I spend on BG/oldtime - improves my classical. Doesn't have to be one or the other.

I looked up your recent thread. It was an interesting conversation. It's amazing that you still have ensembles you can regularly engage with and take on sightreading at your own pace. If you ever end up going back to orchestral, I sincerely hope the experience is more enjoyable than your last.

 

[Depechionista]

I am a moderately advanced amateur, and I get a lot out of playing with an orchestra, but there are some caveats, too.

Some things to think about

• Basses don't get to play a lot of chamber music, so this is your best chance to play with others
• You'll stretch your repertoire
• You'll learn (or reinforce/practice) valuable listening, watching, and counting skills
• You get to hang with other musicians (find an orchestra where the hang is good, don't be a jerk or tolerate jerks)

On the flip side, depending on your level of skill and experience, it's easy for prepping for orchestra to take over your practice time. Do come as prepared as possible to rehearsals, but don't neglect your own growth and development. I made this mistake for a long time, just bringing my current orchestra rep to lessons. The problem was that it left me in the trap of never focusing on acquiring the skills and techniques and musicality that it takes to play that repertoire well. I was always running from behind, woodshedding for the next concert, and never looking ahead.

Now I generally avoid asking for help with orchestra repertoire unless there's a very sticky problem, or if the rep is part of the standard audition repertoire, or if there's some other specific pedagogical value or relevance. I think I've grown a lot since this decision and it's much less frequent that I encounter something I don't already have the tools to solve on my own, given enough time. I think that's closer to how pros work too - they build their tools and skills so learning the next piece isn't as tough, and they can pivot from concert cycle to concert cycle quickly.

Have fun!

Thanks so much. Your response is very helpful. I recently spoke with my teacher to get their feedback. Between the in person conversations and this conversation thread, I think I have a few options depending on personal interests and desired outcomes.

 

[Ed S]

... It's amazing that you still have ensembles you can regularly engage with and take on sightreading at your own pace. ...

Well, our quartet plays at my house, so it woul dbe tough for them to kick me out! And my wife gets to play 1st fiddle diva, so there's that!

Have thought about the orch occasionally, but have not second-thought my decision to stop. Which is always a good place to be.

Was talking with a talented young picker the other day. We both agreed that we'd rather play less music, but the sort of music we enjoy most and with better players. So that is where I'm aiming. Life is good!

 

[Paps]

I had the opportunity to attend a week long orchestra "camp" recently. After spending a dedicated week of music study, practice, workshops, rehearsals, and performance, I've been thinking about dropping out of my community orchestra to spend more time building a stronger foundation. I'm concerned about losing momentum as an adult learner if I drop and potential injuries if I stay.

I'd like to gather perspectives outside of my own on the pros and cons of staying with an ensemble vs taking a pause to grow.

I can share the pros and cons separately if it's helpful.

All depends on time. I'd be reluctant to drop the Orchestra. If you get a good teacher, aware of your current playing level and practice time, they can include your orchestral repertoire in your lessons and by so doing you will pick up valuable teaching on various techniques, rhythms and your tuning.
As you get better and perhaps have time to work on other material along side your Orchestral parts, you may find the Orchestral work less demanding than some of the other studies or etudes you are working on. That's how you progress.
The great thing about playing in an Orchestra is that it is a social outlet for your playing which will often carry you along and keep you playing during times when you have little time for anything else.
The fun, the interaction, the sense of belonging, the sense of fulfilment at being part of a great Orchestral sound, the deadlines for the concerts. All these things keep you going.
It can be a lot easier lose interest if you are depending on solitary practice. The best type of lesson is person to person with an Orchestral bassist.

 

[Bruce Calin]

All depends on time. I'd be reluctant to drop the Orchestra. If you get a good teacher, aware of your current playing level and practice time, they can include your orchestral repertoire in your lessons and by so doing you will pick up valuable teaching on various techniques, rhythms and your tuning.
As you get better and perhaps have time to work on other material along side your Orchestral parts, you may find the Orchestral work less demanding than some of the other studies or etudes you are working on. That's how you progress.
The great thing about playing in an Orchestra is that it is a social outlet for your playing which will often carry you along and keep you playing during times when you have little time for anything else.
The fun, the interaction, the sense of belonging, the sense of fulfilment at being part of a great Orchestral sound, the deadlines for the concerts. All these things keep you going.
It can be a lot easier lose interest if you are depending on solitary practice. The best type of lesson is person to person with an Orchestral bassist.

Thanks, Paps,
I'm going to put that last sentence on my new business cards

 

[Depechionista]

All depends on time. I'd be reluctant to drop the Orchestra. If you get a good teacher, aware of your current playing level and practice time, they can include your orchestral repertoire in your lessons and by so doing you will pick up valuable teaching on various techniques, rhythms and your tuning.
As you get better and perhaps have time to work on other material along side your Orchestral parts, you may find the Orchestral work less demanding than some of the other studies or etudes you are working on. That's how you progress.
The great thing about playing in an Orchestra is that it is a social outlet for your playing which will often carry you along and keep you playing during times when you have little time for anything else.
The fun, the interaction, the sense of belonging, the sense of fulfilment at being part of a great Orchestral sound, the deadlines for the concerts. All these things keep you going.
It can be a lot easier lose interest if you are depending on solitary practice. The best type of lesson is person to person with an Orchestral bassist.

Thanks!

 

[Depechionista]

Well, our quartet plays at my house, so it woul dbe tough for them to kick me out! And my wife gets to play 1st fiddle diva, so there's that!

Have thought about the orch occasionally, but have not second-thought my decision to stop. Which is always a good place to be.

Was talking with a talented young picker the other day. We both agreed that we'd rather play less music, but the sort of music we enjoy most and with better players. So that is where I'm aiming. Life is good!

Can't fire the bassist if practice at the bassist's place!

 

[Ed S]

If I heard correctly, one amazing guitar player at that jam just so happens to be 2d chair bassist in the CSO! Yeah - I'm eager to embarrass myself there!

Yeah, the rumor proved true. One of the several phenomenal guitarists at that jam plays bass w/ the CSO. I made a mistake of having my bow in my quiver, and he kept goading me to use it. I wish I had resisted the temptation. Incredibly nice guy, tho.

Shouldn't there be some sort of rule that someone who is amazingly good at one instrument, ought not be allowed to also excel at another?

The highest level jam I've played at in some time. So many excellent pickers, they may split into 2 groups - the venue has plenty of space. Now that I've got my initial intimidation outta the way, I can have some fun! Have to get my BG chops back to speed... Gives me something to focus my practice on.