Beginning Double Bass: Fundamentals for the First Few Lessons

Whether you’re brand new to teaching, or lead an orchestra and don’t play bass yourself, you can still be successful in helping beginning students learn to play, sound good, and make a meaningful contribution to an ensemble. Teaching students how to play the acoustic double bass requires an understanding of several fundamental elements and skills: parts of the instrument, stance, balance, fingerboard placement (left hand), and bow grip (right hand). Each of these components are individually and collectively important in achieving a good sound. The following outline incorporates information and suggestions for the first one or two beginning bass lessons. Keep in mind that students will be motivated to practice if they can achieve a pizzicato or bowed sound during the first lesson.

Parts of the Double Bass

Students need to be familiar with the parts of the double bass before attempting to produce a sound. Explain the location and function of the endpin, bridge, fingerboard and machine head pegs. Since the upper and lower bouts are important for explaining how the instrument is held, it is best to point out where these parts are located.

Once students comprehend the purpose of these basic parts, introduce the names of the strings. Explain that the double bass is the only bowed string instrument that is tuned in perfect fourths. The highest open string is G followed by descending fourths, D, A, and E, the lowest open string.

For the first few lessons, the teacher should tune the bass using a tuner. This will serve as a model for the student. As the student becomes familiar with using a tuner and how to hold the bow, teachers will then be able to guide students in learning how to tune the bass. The goal is to establish a tuning routine that emphasizes slowly bowing the open strings. Tuning is a good way to encourage students to listen to the sounds they are producing.

Stance

Adjust the endpin so that the student’s eyebrow is lined up with the nut on the fingerboard. The upper right side of the bass rests at a slightly angled position with the bass turned slightly inward toward the right side of the body. The lower bout rests against the inside of the left knee. The left foot is turned slightly outward and both feet are approximately 10” apart.

Fingerboard Placement

Extend the left arm at shoulder height. Bend the arm at the elbow. The fingers are cupped over the strings forming a letter “C.” The 1st and 2nd fingers are placed apart so that the space in between them forms a letter “V.” The ball of the thumb is placed in the middle of the neck slightly above the 2nd finger. The 3rd finger supports the 4th finger. It is important that students use proper left arm and hand position even if not placing fingers on the strings.

Bow Grip

Bow grip is very important in achieving a full sound on the double bass. A steady, good sound is also dependent on bow placement, amount of bow hair, pressure, speed, and angle. There are numerous ways to grip the bow, however, the French (also known as the Bottesini) bow grip will be discussed here. Students need to know the parts of the bow: frog, screw, stick, tip, and hair. Teaching the parts of the bow provides an opportunity to include information and technique for using bass rosin. It is best to demonstrate the one direction use of the rosin (three or four times across the rosin). It is also important that students understand the terms arco and pizzicato. Teachers can use the pizzicato approach to reinforce the names of the strings and later when teaching the various fingerboard positions of the left-hand fingers.

Another important aspect is tightening bow hair. Adjust the screw so that when the bow is placed on the strings, the student will be able to apply slight pressure, yet the hair will not touch the stick. Students need to be reminded not to over tighten the bow because too much stress could possibly change the shape of the stick. Of equal importance is loosening the bow hair after practicing to reduce tension on the stick. The bow should be placed on the strings parallel to the bridge. Place the tip of the right thumb on the right side against the stick, touching the frog. The index finger is curved around the stick. The middle finger rests against the ferrule (metal piece that joins the bow hair to the frog). The ring finger and little finger rest on the frog. There are many ways to grip the bow and as students become adept at bow placement, they will find what is comfortable for them and adjustments can be made to accommodate personal preferences.

Producing a Good Sound

Although it is important that students learn the fundamentals, it is most important to teach students how to sustain a steady tone on open strings. Flat hair from the frog to the tip and the amount of pressure needed at both ends will help students avoid a “scratchy” sound. Remind students that the index finger on the bow controls the pressure, and of course, the amount of pressure needed at the frog is less than the pressure needed at the tip of the bow. Encourage students to practice producing sustained open string notes. Students who learn how to use the bow effectively will be more likely to continue with lessons.

Conclusion

For most school string and orchestra teachers, the first few lessons on the double bass will determine whether students want to continue their studies. It is very helpful to both teachers and students to use the Sound Innovations string method book for double bass. Students need a guiding visual that supports their practice sessions and progress. When choosing orchestra music, easy arrangements will give the double bass players an opportunity to feel part of the ensemble and motivate them to try more difficult music later. Performing with other music students as soon as possible will result in musical satisfaction as well as positive interaction between and among orchestra students. After all, students want to play musical instruments because it is a self-satisfying way to have fun and enjoy music with peers.