Double Bass When in a section

[Andy Mopley]

Are you particular about where you are eg. in the middle, or on the outer? I can understand the principal being in front but does the location of the players in the section make any difference other than to the player him/herself?? Assuming of course a section of 3 or more

Regards to all

 

[bpclark]

I just sit as far away from our brass section as possible. I've noticed that what they lack in skill, they make up for in volume.

 

[AGCurry]

I go where I'm told to go.

 

[notabene]

If you can see both the conductor and the principal, it might be good .

 

[neilG]

I just sit as far away from our brass section as possible. I've noticed that what they lack in skill, they make up for in volume.

When the assistant principal spot opened up in my orchestra, I practiced my ass off so I could move permanently closer to the front of the stage. It has made a big difference in the enjoyment of playing in an orchestra. The extra pay is nice, too.

 

[Neil Pye]

We have a section of 5 (sometimes 6) and I set up between the cellos and violas so that we're in a wedge between cellos and violas. That way I have my sub principal sharing desk with me, then the other three behind, so that I can hear them and they can see me AND the conductor. I prefer them to always set up in the same order behind, so I know who - if anyone - is standing out. This set up, along with lots of ensemble playing as a quintet/quartet outside orchestra rehearsals, has started to have a very positive effect on our playing as a section. That in turn has made a step change in the ensemble of the orchestra as a whole. We played Beethoven 6 last term, and set up for that at the back in a line. I loved that, but our MD won't even consider it for later music.

 

[Nathan Eskridge]

We have a section of 5 (sometimes 6) and I set up between the cellos and violas so that we're in a wedge between cellos and violas. That way I have my sub principal sharing desk with me, then the other three behind, so that I can hear them and they can see me AND the conductor. I prefer them to always set up in the same order behind, so I know who - if anyone - is standing out. This set up, along with lots of ensemble playing as a quintet/quartet outside orchestra rehearsals, has started to have a very positive effect on our playing as a section. That in turn has made a step change in the ensemble of the orchestra as a whole. We played Beethoven 6 last term, and set up for that at the back in a line. I loved that, but our MD won't even consider it for later music.

I was about to sit like this once in my university orchestra, between back line of cellos and violas and loved it

 

[s van order]

I started as the the bass player next to low brass, and liked it as a rocker too. But, I liked second chair spot more, you just hear more and help the prin out. In more recent years, in the cello section of a different orchestra, I started playing back in front of the basses and loved it, kindred souls and the power flowed, seems I could feel the air from the basses. Sit right in front of a bass section sometime and you’ll get it. But, a chance to play cello second chair in pops concerts was amazing, up in the circle of violin, viola and next to the prin cellist. You hear it so differently, a good experience. Conductor hears your mistakes though, ha ha.

 

[David Potts]

In a large section (9 basses) and professional orchestra face-to-face 25 hours or more a week things could sometimes become tricky. You or may not have friends but you try to be friendly towards your colleagues. You may like sharing a stand with some and not happy with others. Life in an orchestra could be likened to working in an adult kindergarten at times, the amount of pressure depending on factors such as the conductor, the repertoire, the soloist, the intensity of the rehearsals, time of day or night. Within the section you have individuals of different ages, histories and backgrounds whose common denominator is playing the bass. You had different abilities and perhaps small differences in intonation and timing, especially pizzicato. I have heard it described as a job with a thousand pinpricks. The surprising thing is that a section of three or greater becomes more forgiving of individual mistakes and develops a single body of bass sound and resonance so long as all play confidently. The worst scenario IMO is a weak player who loses confidence in their intonation and tries to play softer . This has a big effect on the section's output and confidence, with ears reaching for necks. The role of principal sits better on some people than others and the best player is not necessarily the best leader. The point is that if you are not the leader then try to be very good at following despite personality differences.

We did try rotating the tutti players with mixed success but it was quite plain to see that people had their preferred stand partners. When I first joined my orchestra you began as a young player in the last chair and progressed slowly up the ranks if players left. Later the new young principal formed a strong opinion about who he would invite up beside him when numbers were reduced because of repertoire and older players were often passed over. By the time I left aged 60 I missed my life in the orchestra a lot but had become tired of the internal machinations of the section. When asked by "outsiders" what playing in the orchestra was like I would say "on a good day you were in Heaven, on a bad day you were in Hell".

Don't let me put you off a career in an orchestra !!

 

[CaseyVancouver]

In a large section (9 basses) and professional orchestra face-to-face 25 hours or more a week things could sometimes become tricky. You or may not have friends but you try to be friendly towards your colleagues. You may like sharing a stand with some and not happy with others. Life in an orchestra could be likened to working in an adult kindergarten at times, the amount of pressure depending on factors such as the conductor, the repertoire, the soloist, the intensity of the rehearsals, time of day or night. Within the section you have individuals of different ages, histories and backgrounds whose common denominator is playing the bass. You had different abilities and perhaps small differences in intonation and timing, especially pizzicato. I have heard it described as a job with a thousand pinpricks. The surprising thing is that a section of three or greater becomes more forgiving of individual mistakes and develops a single body of bass sound and resonance so long as all play confidently. The worst scenario IMO is a weak player who loses confidence in their intonation and tries to play softer . This has a big effect on the section's output and confidence, with ears reaching for necks. The role of principal sits better on some people than others and the best player is not necessarily the best leader. The point is that if you are not the leader then try to be very good at following despite personality differences.

We did try rotating the tutti players with mixed success but it was quite plain to see that people had their preferred stand partners. When I first joined my orchestra you began as a young player in the last chair and progressed slowly up the ranks if players left. Later the new young principal formed a strong opinion about who he would invite up beside him when numbers were reduced because of repertoire and older players were often passed over. By the time I left aged 60 I missed my life in the orchestra a lot but had become tired of the internal machinations of the section. When asked by "outsiders" what playing in the orchestra was like I would say "on a good day you were in Heaven, on a bad day you were in Hell".

Don't let me put you off a career in an orchestra !!

Great comments as always Mr Potts!
Your inside knowledge is interesting and appreciated.

 

[Bruce Calin]

Mr. Potts knows what he's talking about according to my experience. I've played in sections that were a joy both collegially and musically and others that were the opposite. To me, the principal has a huge amount of influence over both areas. As the principal in my community orchestra for quite a few years and having players come and go, I have tried to keep as mellow but serious an atmosphere as possible. In professional groups I've been involved in it's so much better musically and socially if there's a minimum of politicking and cliques. Some people get off on that stuff, but I'm not one of them and refuse to tolerate it in a section I'm leading.

 

[David Potts]

Thanks, guys. Please call me David or DP rather than Mr. Potts. It reminds me of the shock to find that a survey of ages in my suburb has me in the oldest 1.9% of residents. I haven't felt that old until last Saturday night after I was invited to spend a day in the NSW Doctors Orchestra, the first time they have gathered for almost three years (guess why !!). They called it Symphony in a Day and we worked on Finlandia and Movements II and IV of Tchaikovsy 4th Symphony in detail between 9.30am and 6pm, ending up with a performance for family and friends. Two basses trying to balance 44 others was cruel, time to call The Society For The Prevention Of Cruelty To Old Bass Players (SPCOBP).

 

[AGCurry]

we worked ... between 9.30am and 6pm, ending up with a performance for family and friends. Two basses trying to balance 44 others was cruel, time to call The Society For The Prevention Of Cruelty To Old Bass Players (SPCOBP).View attachment 4621629

Eight hours of rehearsal followed by a performance? Doubly cruel.

I'm the only bassist in my community-college orchestra of about 30 players (I guess that makes me the principal ). Although I'm learning a lot, playing too hard to be heard is not fun - especially when the tuba and tympani are blasting away.