Multifaceted Double Bass

Once you have chosen to learn how to play the double bass, the next step is figuring out which approach you will take, typically either classical or jazz.

With the rising standards of professional classical musicians today, performers have expanded their toolbox of tricks that are readily transferable to other genres of music. Contrary to the age-old idea of the double bass, this instrument can be found in many more roles than simply in jazz or the Western classical orchestral setting. Today's world of music has evolved to include the double bass in more genres including pop/rock settings and folk/traditional music.

The beauty of learning the double bass from the Western classical approach is that the repertoire demands a highly developed technique, with modern composers constantly expanding the abilities of a performer. Classical bassists train to play arco (with the bow) as well as learn how to play pizzicato (pluck the strings), whereas in jazz it is not as common for players to learn how to arco. Also, classical players learn how to read music while training to listen with their ears, but in jazz, the focus is on improvisation and chord charts. One way jazz is similar to classical is that both styles of musicians develop their individual approaches to making music, creating their own personal style and sound.

The classical approach can therefore lend to a wider range of long-term possibilities. For example, today's classical bass players are diversifying more and more, finding the need to expand their opportunities from simply playing in an orchestra. Oftentimes, they are expected to have an understanding of jazz bass playing and be able to 'find the groove'. Even in orchestral or chamber music, composers such as Aaron Copland and Eric Sammut can be found writing 'swing' and 'slap bass' on the bass part. Today more musicals not only require bassists to play under a conductor's baton, they are also required to improvise, understand chord progressions, and sometimes even switch between the electric and upright bass during one show.

Even successful jazz bassists seek tuition in the classical field to add more to their own toolbox. I find that having come from a classical background allowed me the facility, technique, and general musical understanding to thus quickly learn other styles of playing including jazz, pop/rock, and folk/traditional to keep up with the growing demands of today's double bassist. It is more common to find classically trained artists crossing over into other fields, such as the bassist Edgar Meyer, composer and conductor Leonard Bernstein, and many others. A great site for more examples: https://sites.google.com/site/classicalmusicinthe21stcentury/classical-music-in-popular-culture/classical-crossover-a-fusion-of-classical-and-popular-music

Whichever approach you choose, classical or jazz, keep your goals in mind so you are always working towards gathering the tools you need to play in your ideal setting.