Double Bass - Careers

Careers

Careers in double bass vary widely by genre and by region or country. Most bassists earn their living from a mixture of performance and teaching jobs. The first step to getting most performance jobs is by playing at an audition. In some styles of music, such as jazz-oriented stage bands, bassists may be asked to sight read printed music or perform standard pieces (e.g., a jazz standard such as Now's the Time) with an ensemble. Similarly, in a rock or blues band, auditionees may be asked to play various rock or blues standards. An upright bassist auditioning for a blues band might be asked to play in a Swing-style walking bassline, a rockabilly-style "slapping" bassline (in which the strings are percussively struck against the fingerboard) and a 1950s ballad with long held notes. A person auditioning for a role as a bassist in some styles of pop or rock music may be expected to be able to demonstrate the ability to perform harmony vocals as a backup singer.

In classical music, bassists audition for playing jobs in orchestras and for admission into university or Conservatory programs or degrees. At a classical bass audition, the performer typically plays a movement from a Bach suite or a movement from a bass concerto and a variety of excerpts from the orchestral literature. Orchestral bass auditions are typically held in front of a panel that includes the conductor, the Concertmaster, the Principal bass player and possibly other principal players such as the Principal cellist. The most promising candidates are invited to return for a second or third round of auditions, which allows the conductor and the panel to compare the best candidates. Performers may be asked to sight read orchestral music. The final stage of the audition process in some orchestras is a test week, in which the performer plays with the orchestra for a week or two, which allows the conductor and principal players to see if the individual can function well in an actual performance setting.

Performance jobs include playing as a freelancer in small groups, large ensembles, or performing solo music, either live onstage or as a session player for radio or TV broadcasts or for recordings; and working as the employee of an orchestra, big band, or recording studio (as the studio's house bassist). Many bass players find extra work by substituting ("subbing") for bassists who are double-booked or ill. It is hard for bass players to be able to find full-time, full-year work at a single job. About the closest that a bass player can come to this is in the case of classical bass players who win an audition at a professional orchestra or the tiny number of top session pros that are hired by recording studios. Even full-time orchestra jobs do not usually last for the entire year. When the orchestra stops playing (which is often in the summer), orchestral bassists have to find other work, either as a teacher or coach, or in another group.

Teaching work for double bassist includes giving private lessons in the home or at colleges and universities; coaching bass players who are preparing for recordings or auditions; doing group coaching at music camps or for youth ensembles; and working as a high school music teacher.

In jazz, blues, rockabilly and other genres, most bassists cannot earn a living from playing in a single group (with the exception of the small number of bassists in top touring bands or groups with recording contracts), so they work in different bands and supplement their income with session playing and teaching. Due to the limited number of full-time orchestral jobs, many classical bassists are similarly not able to find full-time work with a single orchestra. Some bassists increase their employ-ability by learning several different styles, such as classical and jazz or rockabilly and bluegrass.

In some cases, bassists supplement their performing and teaching income with other related music jobs, such as working as a bass repairer (luthier); as a contractor who hires musicians for orchestras or big bands, composing music (e.g., Dave Holland), songwriting, conducting (e.g., David Currie) or acting as a bandleader (e.g., Charles Mingus). In some regions there may not be enough work in music to make a living, even if a bassist can play several styles and he or she does recordings and teaching. As such, in some regions, bassists may have to supplement their musical work with income from another field outside of music.