Introduction

This survey is an attempt to uncover issues and concerns in the bass world. By filling in the answers you help heighten the awareness of the variety of methods and styles used in the bass community. Participation in this survey helps to develop a consensus of common interests in all facets relating to bass. This survey has the potential to be beneficial to not only bassists but also musicians and composers everywhere. This survey is not meant to nor does it try to cover all the issues in the bass world. It is very open-ended and the focus is to open up the knowledge and views of the greater bass community. Feel free to write or comment on anything that you think would be helpful; anything that either makes the bass survey better or more inclusive. In other words, other issues are welcome and encouraged. Also, we are not only looking for issues and concerns for the bass community as a whole but individual questions and comments are welcome. We are not looking for exact "answers" so much as we are looking for opinions and questions that come from them.

Your participation in this survey is voluntary. Any part of this survey that you choose to mark is helpful. Each section contains questions that have answers that can be circled as well as free response spaces. Free response spaces give you the chance to elaborate on the issue or question. You may write under the label "free response" at that question or on the back of the page. Any answer is a good answer.

The questions and issues uncovered here will be collated and organized into some type of publication that will benefit the bass community.

Thank you for your participation.

Dr. Hans Sturm Justin Darrow

I. What is your experience pertaining to the bass?

I am a: (check all applicable)

• Professional orchestra player
• Regional/Community orchestra player
• Freelance player, (general, jazz, etc.)
• Graduate Student
• Undergraduate Student
• High school student
• Middle school student
• College/University professor
• High school/Middle school teacher
• Private teacher / amateur performer
• Other:

II. I have been playing the bass for years.

III. What is your primary interest (i.e. classical, jazz, solo)?

IV. Which bow do you currently use?

• a. French
• b. German
• c. Both
• d. I do not use a bow

Right Hand

1. What are the issues that led you to play either the French or German Bow?

• a. Teacher/regional influence
• b. Availability of either bow
• c. It changes depending on need (nature of composition or performance situation)
• d. Specific attributes of your individual playing style (i.e. comfort, ease of use, facilitating rapid changes between pizz. and arco, etc.)

Comment:

2. I consider the following when I decide where to place the bow (rate from 1 to 6, 1 being highest).

• a. volume/dynamics
• b. tone color
• c. style
• d. bass height
• e. blending into ensemble
• f. other

3. What do you consider the characteristics of good bow distribution to be? (rate in order, 1 being highest).

• a. good tone
• b. not running out of bow
• c. dynamics
• d. not producing inappropriate accents
• e. other

4. What significant characteristics define a good bow hold? Consider issues of comfort/playability; flexibility; sound production; etc...

5. Describe some aspects of a smooth bow exchange -- comment on speed, weight, distribution, location, rhythm of the bow, string crossing, etc. How do you develop a smooth seamless bow exchange? (Do you practice technical exercises aimed at isolating exchange only or does the exchange just happen as a result of other musical concerns.)

Left Hand

6. What is the most effective way to develop strength and good hand shape? (rate from 1 being highest)

• a. Hours in the practice room
• b. Concentration on fundamental shape
• c. Scales or technical exercises
• d. Trilling exercises
• e. other

7. Which of the following do you consider to be important when developing a fingering? (rate from 1 being most important consideration)

• a. playing across strings
• b. shifting up strings
• c. whole steps get 1-4, half steps get 1-2, 2-4
• d. whole steps get 1-4, half steps get 1-3, 3-4
• e. most comfortable
• f. extended three or four finger techniques
• g. thumb for support
• h. thumb as another finger
• i. thumb as a marker (assist in measuring intervals)

Comment on fingering development:

8. What ways do you use most to develop good intonation? Rate these in order from 1 (1 being the best)

• a. use keyboard
• b. sing
• c. memorize scales patterns and sound
• d. tactile memorization of locations on fingerboard
• e. visualization
• f. checking reference pitches (harmonics, open strings)
• g. other

9. What are good ways to develop solid shifting? Rate these in order from 1 (1 the being the best)

• a. repetition of specific shift
• b. visualization of pitch location in 'mind's eye'
• c. scale fragments
• d. practice shifting intervals (e.g. the 'vomit' exercise)
• e. concentration on hand shape
• f. using different fingerings
• g. other

10. What is the best way to develop vibrato (width and speed)? Rate these in order from 1 (1 being the best)

• a. practice incremental rhythmic vibrato (oscillating rhythmic figures of 8th notes, triplets, 16th notes, patterns of fives and sixes with a metronome)
• b. small rapid glissandi
• c. just do it
• d. other

11. How do you develop left hand facility? Rate these in order from 1 (1 being the best )

• a. scales
• b. arpeggios
• c. repetition of passages with gradually increasing tempo
• d. practice the pitches of passages with alternate rhythms
• e. other

Technical Exercises

12. Choose one of the following and describe your favorite/best technical exercises you use to develop that specific aspect of technique.

Shifting Intonation Vibrato Bow Distribution Bow Exchange Tone Production String crossing

13. How do you maximize your practice time to get quality results? Rate these in order from 1-6 (1 being the best)

• a. begin with a plan and a goal
• b. physical and mental preparation
• c. clear your mind of outside distractions
• d. practice at the same time daily
• e. practice when in a positive mood
• f. other

14. How do you approach problem spots in passages or technique (outline)?

15. In a typical practice session, what percentage of time do you spend on each of the following? My typical practice session lasts hours.

• Stretching %
• warm-ups, including scales %
• singing %
• playing parts on piano %
  • repertoire including:
  • solo %
  • jazz %
  • orchestral %
  • other % %

Warm-ups/Stretching/Health

16. Describe some warm-ups and stretches that you use in your daily routine and the reasons you use them.

Repertoire

17. How do you select the pieces you add to your repertoire? Rate these in order from 1 being the best.

• a. listening to recordings
• b. suggestions from teachers
• c. suggestions from peers
• d. specific technical development objectives
• e. from bass magazine reviews
• f. other

18. Which factors do you consider most in program selection? Rate these in order from 1 being the most considered.

• a. entertainment value
• b. aesthetic inspiration
• c. difficulty level
• d. showcase talent or improvement
• e. stylistic concerns of presentation

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