A Double Bassist's Guide to Refining Performance Practices

Part 1 Critical Analysis of Physical Performance Techniques

1 Critical Analysis of Physical Performance Techniques PART 1 Critical Analysis of Physical Performance Techniques Use of Self In reading this book you will find the phrase “use of self” employed a number of times. I was asked by a reader of the original manuscript to clarify the meaning and reason for use of this phrase. You may be familiar with the Alexander Technique. I took several lessons from various teachers of this philosophy of physical behavior. Initially, the Alexander teacher “maneuvered” head, neck and shoulders, and said little, leaving me wondering what I was supposed to take with me from the lesson. For a long time I was never quite sure what I was supposed to learn from the experience. Sometime later I found an Alexander teacher who was more verbal. I brought a bass to one lesson and we explored physical challenges presented by the double bass, experimenting with various positions suggested by the Alexander teacher. It became obvious that there really is not a perfect solution for physically dealing with the size of our instrument. There is only the most appropriate physical adaptation to an instrument the size and shape of the double bass. As time went by, I believe I found the answer to the goal of the Alexander teacher and my investigation of the possibility of physical positioning for playing double bass. It is the same goal that teachers of double bass should constantly be working toward: making the best use of self. Although I am not positive, I believe this might also be one of the goals of the Alexander system. If not, unquestionably the premise to make “best use of self” is. This goal is essential for the most successful fulfillment of our physical and musical aspirations. The question now becomes, what is the best use of self? Who determines that? We play a large instrument that challenges us to find the most comfortable manner in which to maneuver on it and extract meaningful sounds. Our teachers’ intent is to help us achieve these goals, but there is still the question, is our success really being achieved through best “use of self”? Are all teachers successful in teaching and making best “use of self”? Are we as teachers passing on what we have learned from 2 Critical Analysis of Physical Performance Techniques experience by exploring how to translate our knowledge, or are we primarily leaning on what we learned from our teachers, without further questioning or enlarging on that information? Making best “use of self” requires translating musical thoughts and efforts through positive physical and intellectual application. Such is the goal of this book. As you will find when reading on, I attempt to analyze and organize all aspects involved with positive performance, providing reasoning for the solutions suggested to hopefully make best “use of self.” The last chapter, written by Chris Gale, a physical therapist, results from awareness that proper “use of self” alone does not prevent physical abuse resulting from years of using the physical self to play double bass. We are not alone in experiencing this problem. The violinist and violist are even more subject to abusive behavior resulting from their required playing posture. The flutist is physically unbalanced by having to constantly hold his or her arms up shifted to the right. Even the clarinetist suffers from discomfort of the thumb that is placed below the metal thumb support. The only performers that seem to be less physically abused are the percussionists. Their abuse, however, can be damage to their hearing that results from the volume and percussive “explosions” required for performing on that family of instruments. Although there may not be a perfect physical means of performing on our instrument , it is possible and essential for us to make best “use of self” physically, technically , musically, and intellectually. Toward Creating a More Competent Bassist (A guide for identifying, analyzing and resolving musical performance challenges, including treatises on the various aspects of the ever-evolving musician.) It is interesting to note that, besides professional musicians, many doctors and individuals in some of the other sciences play an orchestral instrument. There are doctors’ orchestras in several American cities. I had quite talented students who were practicing physicians, and I have performed chamber music with groups made up of only doctors. They were musically very competent and dedicated, providing me with a musical experience in many ways equal to performing with similar ensembles of fine professional musicians. It is believed that...