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Double Bass How to practice?

I'm a bassist in high school and I have been struggling with deciding what to focus on during my practice time as well as the best way to work on certain techniques or passages.
I was wondering what works for other bassists in terms of practicing, and ways to schedule or organize your practice sessions.
 
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Break practice down into a few categories. As long as you're doing a little bit of work in each area every day you can expect steady progress.
1) tone work - slow scales, focusing on consistent tone production. Use various dynamics, start up bow, start at the top of the scale, etc. to always have variety
2) fluency work - work on new scale and arpeggio fingerings, even if it's just closing D instead of playing the open D string you usually use. All that matters is you are discovering where all the notes on the bass are. 1 and 2 combine together very easily.

3) repertoire chunking - pick a goal for your piece. Getting the tricky passage in a consistent tempo, avoiding bad tone on a difficult shift, etc. This part is about honesty without demoralizing yourself. You have to identify the problem to fix it, then you have to really work way slower and more deliberately than you think to make the fix stick. Practice at 50% tempo here to start and stick to as few notes or a small "chunk" as needed. If it's a shift, just practice the two notes on either end of the shift until they sound good to you. It won't be perfect but if you take the time consistently to check in on that problem shift or whatever you've identified, you'll make really great progress you'll be able to transfer to other places in your playing.
You can't focus on everything at once which is why slow tempo is needed - you have to program whatever you've fixed into your muscle memory so you can find the next problem to solve without dropping the first ball!
 
Good on you for asking this question!

@slappahdabass has good advice, but you didn't let us know at what stage of development you consider yourself, and whether you take or have taken lessons.

If you've learned the very basic things from a qualified teacher - posture, how far to pull the endpin out, tuning, fingering positions, how to use the bow - then the advice above is very good indeed. I would add playing exercises and etudes from Simandl, Vance, and the like. Focus on getting a good sound, intonation, sightreading, and agility.

When you get the pieces you'll play in school, listen to recordings of those pieces, and - without the bass - read along with them. Take every nontrivial passage and make a plan for bowings and fingerings; then, try to play them the way you've planned (there will surely be some changes from your original plan).

If you haven't learned the basics - learn them now, with a teacher.

One of the bassists in my section was assigned the double bass in middle school, but she never had a lesson and doesn't even have a double bass to practice with. She has decent sightreading skills, and I suspect that she could be a decent musician, but I come close to crying when I watch her play: Endpin too tall, bow hair WAY too tight, doesn't tune the bass well, left-hand fingers flying, and no attention to marked bowings. A teacher could have shown her all those things in a few lessons.
 
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Good on you for asking this question!

@slappahdabass has good advice, but you didn't let us know at what stage of development you consider yourself, and whether you take or have taken lessons.

If you've learned the very basic things from a qualified teacher - posture, how far to pull the endpin out, tuning, fingering positions, how to use the bow - then the advice above is very good indeed. I would add playing exercises and etudes from Simandl, Vance, and the like. Focus on getting a good sound, intonation, sightreading, and agility.

When you get the pieces you'll play in school, listen to recordings of those pieces, and - without the bass - read along with them. Take every nontrivial passage and make a plan for bowings and fingerings; then, try to play them the way you've planned (there will surely be some changes from your original plan).

If you haven't learned the basics - learn them now, with a teacher.

One of the bassists in my section was assigned the double bass in middle school, but she never had a lesson and doesn't even have a double bass to practice with. She has decent sightreading skills, and I suspect that she could be a decent musician, but I come close to crying when I watch her play: Endpin too tall, bow hair WAY too tight, doesn't tune the bass well, left-hand fingers flying, and no attention to marked bowings. A teacher could have shown her all those things in a few lessons.
Sorry for not clarifying, I would say I am a high level high school bassist (previous All-State Principal). I currently study with Dr. Brian Powell at the University of Miami as well as Eric Windmeier of the New World Symphony. I have been taught many concepts and ideas behind playing (body involvement, bow distribution, etc.) but struggle finding the best way to improve on the previous said things.
 
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Break practice down into a few categories. As long as you're doing a little bit of work in each area every day you can expect steady progress.
1) tone work - slow scales, focusing on consistent tone production. Use various dynamics, start up bow, start at the top of the scale, etc. to always have variety
2) fluency work - work on new scale and arpeggio fingerings, even if it's just closing D instead of playing the open D string you usually use. All that matters is you are discovering where all the notes on the bass are. 1 and 2 combine together very easily.

3) repertoire chunking - pick a goal for your piece. Getting the tricky passage in a consistent tempo, avoiding bad tone on a difficult shift, etc. This part is about honesty without demoralizing yourself. You have to identify the problem to fix it, then you have to really work way slower and more deliberately than you think to make the fix stick. Practice at 50% tempo here to start and stick to as few notes or a small "chunk" as needed. If it's a shift, just practice the two notes on either end of the shift until they sound good to you. It won't be perfect but if you take the time consistently to check in on that problem shift or whatever you've identified, you'll make really great progress you'll be able to transfer to other places in your playing.
You can't focus on everything at once which is why slow tempo is needed - you have to program whatever you've fixed into your muscle memory so you can find the next problem to solve without dropping the first ball!
Thank you for the advice! I just started working on Strokin’ and Boardwalkin’ by Hal Robinson, and I already can tell how useful they are, and how over time with slow repetition my intonation and sound quality can benefit greatly.
 
Thank you for the advice! I just started working on Strokin’ and Boardwalkin’ by Hal Robinson, and I already can tell how useful they are, and how over time with slow repetition my intonation and sound quality can benefit greatly.

Boardwalkin is exactly what I mean by number 2 so that's a great choice. Combining the two books is basically everything you could ever need to practice bar practicing thirds, fourths, etc.
 
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Good question, Brandon! Dennis Whitaker has a good video on this:



If you like reading books I've got two picks for general musicianship, and they include sections on practice:

The Musician's Way: A Guide to Practice, Performance, and Wellness by Gerald Klickstein​

The Inner Game of Music by Barry Green​

As a high school student, you're playing the long game so go easy on yourself. Avoid burnout and have fun, but chase after those days of inspiration where you don't want to put the bass away.
 
IMO you are already quite a good bass player if you can play in time, in tune, all the notes, musically and with a sense of style.

I see learning the bass to be technically separable into five compartments -
LH shapes and movements
RH shapes and movements
Combining the two hands with good timing and clean articulation
Mapping and understanding the layout of the fingerboard that develops fingering possibilities
Sight reading

Very good intonation is a must so when I practice it is "Intonation and ......" (some aspect of what I am working on).

You could look back to a thread started by thebassist called Your Practice Routine in November 21 2008. IMO a good warm up prepares you both physically and mentally to step forward both technically and musically. It may be a scale, a bowing, an etude, an excerpt or a repertoire piece (or any part thereof) but you are in the right frame of mind to solve problems. Your ultimate teacher becomes the difficulties in piece(s) that you are working on. This where the wisdom of your bass teacher in selecting the sequence of repertoire should help. Perhaps keep asking yourself Why (as well as How, What, Where and When ....) to remain focused but recognize that you will not always make straight-line progress in all aspects of your developments.
 
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[edit] Many helpful things to practice above.. But since you said you are putting in the time and not making progress, it may be time to think about how you practice. Learning how to be usefully self-critical and make improvements is a skill in itself.
There are some steps, well established in many disciplines that apply here. The list below is neither comprehensive nor the best description perhaps but I hope it helps.
When you identify that “something isn’t right” , break “not right” into pieces small enough to do something about each , then fixing them individually. When you first start breaking down a musical phrase, for instance, you’ll (hopefully) notice that two shifts aren’t accurate enough, that your bow pressure at the start of some notes is this or that, maybe the last note under the slur doesn’t set you up for the next bow change… There are a lot if items you could work on. Work on one at a time to gain clarity. In working on the one item, you’ll probably find that there are smaller items under the first one and so on. Engaging the process of finding and fixing individual problems is the way to make progress.

Do you record yourself while practicing at least a couple times daily ? Thirty second recordings can help identify the good and the bad. Immediate feedback in small sections gives great guidance on narrowing your focus. Recording also helps understanding what everyone else hears because the bass sounds so different in the room than to the player.

Another skill to learn is identifying what you have learned , at best in different time scales - since yesterday, since last week, since last year. What is easier and more accurate now than then ? What sounds better than it did ? Actively understanding what’s getting better in your playing is not just a way to feel good about all the time you spent practicing but crucial in identifying what needs work next rather than what you have already fixed. Understanding what is easy now and used to be hard , when you can identify how you got there, what understanding you gained to have a new movement without “putting it into words” . What can you “just do” without “thinking about it” ?

One source of advice on practicing is Home | Mind Over Finger

</begin soapbox>
In the forty years since I studied bass in college, there have been many advances in understanding brain function- language acquisition and processing the similarities in music, motor planning , are but among many others. Physiology in sports, dance and rehabilitation have advanced knowledge of the complexity of human motion and techniques of improving movement . Many techniques are available improve the way we learn.
</end sopabox>

For a little more information on music cognition

[Invalid or Expired Link Removed]The umbrella group including a Map of other labs in Music cognition around the world. Music Cognition Labs - Google My Maps
Brams – International Laboratory for Brain, Music and Sound Research The biggest research labs.
Home | Auditory Brain Research Lab Discovered that the brain stem has been partially repurposed to differentiate between syllables and notes , and other amazing stuff.
[Invalid or Expired Link Removed] Ryerson University Toronto
 
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I have divided my practice session in four parts (60-90 minutes in total).
1. I practice the 'homework' of my teacher (a song or a lick)
2. Reading and rhythm (from a book - now Rufus Reid The Evolving Bassist)
3. Jazz technique (from a book now Jazz Electric bass)
4. Scales and arpeggios (from a book now The Ultimate Bass Chords and arpeggios)
By doing different subjects per session and having always new material to learn it keeps fresh.
 
ps the three points of practice above are not from the music cognition people but a couple starting points of deliberate practice :
Invalid Link Removed
And a nice summary including a succinct trashing of the "10,000 hours" meme by the original researcher Anders Ericsson who was misquoted in that claim.
Practice (learning method) - Wikipedia
That page is the edge of a deep rabbit hole in the links at the bottom, but it's helpful to understand if you actually want to improve.

Good luck with your progress!
 
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And a nice summary including a succinct trashing of the "10,000 hours" meme by the original researcher Anders Ericsson who was misquoted in that claim.
Practice (learning method) - Wikipedia

Malcolm Gladwell (the common source of the 10,000 hours myth) is popular, but he's not always right. I linked to a non-paywalled site describing the problem, but if you have access to the New York Times, it's perhaps worth reading the original review. Also, I don't necessarily endorse Stephen Pinker except I do endorse his criticism of Gladwell here...
 
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In addition to the advice given above, it's also okay to work on what you're motivated on any given day. Sometimes when I feel overwhelmed I take a breath and work on whatever gets me excited that particular day whatever it may be.

I'm not sure if anyone recommended Effortless Mastery by Kenny Werner but it really helped me when I was in conservatory and in over my head.
 
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