Bass lesson #1

[David Richoux]

A friend sent me this - even though it is a double bass in the video, there may be something of value to you all... Or maybe not.
http://youtu.be/Wo3TmXI3USk

[huskerdooo]

On a related matter, I was actually wondering how many folks here doubled on the double bass. My son enjoys the tuba, but really likes to play a bit of jazz... so far he has found the opportunities limited to be part of a jazz group with his tuba. He still has a lot of tuba study ahead of him, so I worry that diluting his tuba effort with another instrument would be too much for him. (and maybe our wallet!)

[Donn]

It's a good thing as far as I'm concerned, if you have the opportunity. Same with electric bass, which won't be as appealing to the jazz crowd but is so versatile it's almost crazy not to pick it up. Either are good for rhythmic and harmonic foundation, like tuba but different. It does however take some time to get good on all this stuff - that's pretty much my excuse. It will save a lot of time if you can decide you don't need to play with a bow.

Plywood basses sound good, and they're far more robust.

[huskerdooo]

Thanks, maybe he will get there next year. He just got a 5-valve CC, so he needs to ramp up on it coming from a BBb.. I am not sure how long it will take to get to the level he is at on the BBb with the CC.

He's still asking (double bass, no bow), but I think he needs to get competent on the CC before we would feel comfortable adding something else to the mix. (Time, $lesson, $instrument) He doesn't seem to want to play an electric, so as you indicate, not as versatile, but maybe better for his goal...

So is there an equivalent Tubenet site for double bass?

[Polkahero]

So is there an equivalent Tubenet site for double bass?

Sure is, check out Talkbass.com. They have separate forums for electric and acoustic bass. I double on electric myself, been playing that almost as long as tuba.

[Art Hovey]

I get a lot of doubling gigs because I can play bass passably well, along with the tuba. Just playing a simple bass line and trying to make the rest of the band sound good without showing off wins friends. I practice the bass a few minutes every day, but spend more time on tuba. Four pistons keep my right hand strong, and the bass keeps my left hand strong. Carrying them around keeps me in shape too.

[Ace]

A friend sent me this - even though it is a double bass in the video, there may be something of value to you all... Or maybe not.
http://youtu.be/Wo3TmXI3USk

I like that player's intonation. The class at UCLA he refers to must have been a real winner.

I wonder how the first finger, right hand, survives all that plucking.

Ace

[huskerdooo]

Thanks for the recommendations. I'll check out TalkBass.

And thanks, passably well is what he wants, with his musical emphasis directed towards tuba. So this sounds like a viable addition to his musical toolbox.

[iiipopes]

Tuba, double bass, electric bass - the lesson applies to all instruments used to support any ensemble. I will not presume to say I can play them all in all keys with the faculty of John Clayton, but that is exactly what I was told as a teenager if I ever wanted to be really good at bass. So I continue to work on them to this day thirty-eight years after I first picked up a bass guitar at summer band camp, and a souzy at marching band that fall, and finally double bass a few years ago. I find this ability most useful when given a chart of chord hash and I have to construct a line that will not only be technically "correct," but also compliment, support and give direction to what the rest of the band is doing. So after a player learns all the chords in all keys, the next step is to study voice leading so a player not only can construct a proper line, but support and direct the ensemble through the various sections of any given piece in any given style.

A most elementary example as most folks reading this thread will already know, but is a good way to start instilling awareness in younger players as to why learning all the chords in all keys and voice leading to support the ensemble is necessary: take a typical walking blues in Bb, where all that is written is Bb above the 1st measure and hash marks in the staff - so you play Bb, D, F, G | (8va) Bb G F D | Bb D F G, but then, knowing the band is going to go to the IV chord at the 5th measure, and to let the band know where to go, especially for a soloist, the 4th measure is played, instead of repeating the 2nd measure, something like (8va) Bb Ab G F, so that you lead right into the Eb, the tonic of the IV chord, as the first note of the 5th measure, and so on.

[iiipopes]

A friend sent me this - even though it is a double bass in the video, there may be something of value to you all... Or maybe not.
http://youtu.be/Wo3TmXI3USk

I like that player's intonation. The class at UCLA he refers to must have been a real winner.
I wonder how the first finger, right hand, survives all that plucking.
Ace

Like everything else: proper instruction as to form, technique and pedagogy, and lots of practice to build up the muscles and the callouses necessary. Even after playing electric bass for 38+ years, this was my most difficult aspect to overcome as well when I started playing double bass a few years ago - not the intonation on a plain fingerboard, not the re-learning of positions or the philosophical and physical differences between the two instruments - no, it was the extra strength and endurance required, starting with the fingers.