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Double Bass Edgar Meyer Technique

Part of the smart practice has to be how you take care of your body IMO. If you are going to try and practice 10 hours a day make sure that you maintain good posture and understand how to safeguard your hands, wrists, forearms, shoulders, neck, back, etc, etc. Understand about the risk of RSI (repetitive strain injury, now often called OOU -occupational over use) and when to rest, not to try and ignore pain and risk permanent damage.

Why am I going on about this. I was Occupational Health and Safety representative in my ex-orchestra, the Sydney Symphony, for some years and saw many colleagues try to play on in pain.

One of the worst things that can happen to a musician's career is called Functional Dystonia. In the "outside" population you occasionally meet someone who has an involuntary tic or jerking movement. Musicians are three times more at risk than the broader community and with us it may start to show as as a lack of control over a particular finger (or fingers?) in the middle of a run of fast notes. The harder they try the worse it gets and there may be some pain involved. Most at risk are players who practice for long hours using small highly repetitive and highly emotionally charged movements of their fingers on instruments such as the piano, violin and woodwind. It can be difficult to diagnose properly and can be mistaken for OOU if pain is involved. It appears to be some sort of rewiring of the brain and can be a career wrecker. The affected person needs enormous emotional support and may not ever fully recover the same level of facility on their instrument.

Good news is that I have never heard of Functional Dystonia happening to a bass player. This is possibly because our LH finger movements are not as fast and require more strength that ensures better blood flow and removal of waste products.

So please don't be the first case!!!!!!

Best wishes to all,

DP
 
Ten hours a day, every day, in a practice room is not a great idea. Ten hours a day of thinking, listening, rehearsing, studying, and practicing is right on target, however. You just have to treat yourself with some respect in the process of obsessing.


Paul this is one of the truest and most beautiful things I've ever read. Every serious student needs to understand this. This is the key to understanding the music world.

As every student should, I am in the process of a healthy obsession :-)
 
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What is the reason that Edgar Meyer uses an EBEA tuning? I can understand using the orchestral tuning F#BEA. But why does he tune his lowest string to E? Makes fingerings on he low strings really hard and illogical because of the 5th between the E and B string.
 
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What is the reason that Edgar Meyer uses an EBEA tuning? I can understand using the orchestral tuning F#BEA. But why does he tune his lowest string to E? Makes fingering on he low strings really hard and illogical because of the 5th between the E and B string.

I'm pretty sure it's to get the largest possible range out of the instrument, and also it wouldn't be awkward if you had it for a month or so. Yeah it makes some things more difficult but I'm sure you get used to it. I have been try to transcribe some of his stuff and I am thinking about trying out his tuning for a while, if only I had one bass to have his tuning and one with regular...
 
Of course you can get used to everything. I sometimes tune my E to D which is the same. But for me it spoils the symmetry in the bass tuning. Because of the 5th between E and B string the rest being 4ths.
I'm not sure what his reasons are, but I can think of a few possibilities. F-sharp strings tend to sound really horrible, and as far as I care they are worthless in every way. They screw with the natural resonance of the instrument, and the harmonics they offer (pitches) aren't nearly as useful as the other strings.

Having two E strings, on the other hand, would make the resonance of the instrument much fuller. Since he has an extension, it lets him reach a proper low-C while still having the advantages of the higher solo strings on top.

Larger range, better response.
 
Paul, that's basically exactly what Edgar says about it. He prefers the sound of the solo set on the Gabrielli, which is a very small bass... But he can still play basslines and be a proper accompanist with a low E. The resonance is very unique with this tuning; it's an essential part of his sound. For his chamber work with Lincoln Center etc... he uses his dad's old orchestral bass, which I believe is a big German bass in standard 4ths.