Double Bass How do you handle it when you stuff up?

[Andy Mopley]

Firstly, let me say that rule #1 is preparation - whether is writing notes on the music, learning the bowing etc.. - the more prepared you are, the better - given.

Nevertheless, whether it is an audition or playing live, when that pizzicato goes across the orchestra like thunder in a clear blue sky, you realize that #$%^ happens.

At that point in time (speaking from recent experience here), my own pride / ego - call it what you will - does take a bit of a beating.

What strategies do people use to come back from that? I mean it is easier to "expect" in a community orchestra, I suppose, but when you are playing for a major audition or in a big league orchestra, does one "clanger" set your confidence back a bit, even questioning your own ability?

And another thing - do conductors usually glare at you when it happens, and give feedback on the fly, or is it more customary for them to pull the section leader aside, after the performance, and let fly then?

On a bit of a downer, I'm afraid!

 

[eee]

Don't stress it too much - messing up is the best way to learn!

 

[Andy Mopley]

True that! I guess you've got to be humble and (have the hunger to) learn from your mistakes, eee

 

[SeaMist_au]

I play in a community orchestra and am still at the wrong end of the learning curve unfortunately so I stuff up often. But I am not alone. Everyone in a community orchestra is likely to make mistakes. Sometimes ( in practice) the entire orchestra goes off lol. Even in performance I have witnessed the entire brass section ' go for a gallop' in one piece. On another the strings got out of synch. The orchestra recovered though and that is the main thing.
Unfortunately on a personal level the better you get, the higher your expectations on yourself and the less forgiving of yourself you become.
My teacher last week suggested (mostly in jest I think) that I should learn to be arrogant like the professionals. Meaning really that the less you are sure of yourself the more likely you are to tense up and then make the mistakes you were tense about in the first place. Those that are sure of themselves play with confidence, mistakes included.
So perhaps the best thing to do is just be kind to yourself, learn from the mistakes but don't let them rule your performance.

 

[BazzTard]

I don't understand the question, isn't it ALWAYS the percussionist's fault ?

 

[bejoyous]

Yeah, I've made some cackers..

Well, hope the concert ends well so it'll be forgotten. Don't bring it up with anyone as it will spread like wildfire and reflect negatively on you.

Try not to beat yourself up too much.

Later, reflect on it to find a nugget of knowledge to learn from so it doesn't happen again. Were you supposed to line up with a timpani cue? Do you and the clarinet have a musical conversation or should you be in unison? Where is the baritone on stage when you give a big pizzicato to make a sound effect of him sharpening his sword? And of course, what is the conductor doing during these passages when they occur? Etc.

 

[MikeCanada]

It happens to everyone, even the professionals. If it happens in a rehearsal and it is obvious to the conductor and offending party that it was just a mistake, usually there is some eye contact made or subtle acknowledgement of it and everything moves on. If it is necessary to clarify something, there is a question of incorrect notation, a meter change is unclear etc. then typically the principal will discuss with the conductor during a break or before/after the rehearsal. If it happens more than once or is not resolved that is usually when attention is drawn to the issue, and it gets worked out in a more public fashion. Each orchestra and conductor is a little different, but you are usually afforded a few free passes once in a while.

A performance is kind of like a game of golf. You might make a bad shot once in a while, but the key is to recover quickly and put it out of your mind. Working on your game face doesn't hurt either. The majority of the audience will assume whatever mistake happened was intentional unless it's clear the entire brass section is hanging its head in shame, someone's shaking their head in self deprecation, or my personal favourite (and timely given it is November 10th) the trumpet player in our secondary school who butchered the last post and then yelled ^&*#)! in front of our entire school and several veterans. I would not have wanted to be that guy.

 

[Andy Mopley]

Thanks everyone, sensible commentary from all...And on the subject of cues, as pointed out by bejoyous...

For those who stand, do you normally set the (music) stand as high as you can, in order to see both the music and the conductor?

 

[Tom Lane]

Andy, this is what I learned from car racing: ignore my mistake and focus on the next goal. That's because, in auto racing, any distraction will slow you down or worse, cause you to leave the track, which REALLY slows you down. Easier said than done, but it applies to any kind of performance. Considering mistakes and how to correct them is something you do after the performance while listening to the recording.

There's an old saying: amateurs CAN get it right; professionals CAN'T get it wrong. That saying says a lot to me about how much thoughtful practice is involved for an outstanding performance.

 

[David Potts]

(Almost) Rule #1 - look at your stand partner, not the conductor. (I speak in jest)

My stand partner once fainted after a mistake during a performance. Luckily he handed me his bass as he went down. And once near the beginning of my career I put a magnificent FF extra C into a silent bar in Beethoven's 5th Symphony during a performance. Both the orchestra and nearly 2000 people in the audience loved it. Comment afterwards - it was beautifully in tune!!

Thing is, with mistakes, they go away from you at 1200 feet per second and you can never get them back, only smile inwardly and learn from them.
DP

 

[Anonymatt]

"I guess you guys aren't ready for that yet, but your kids are gonna love it."