[Calvin Marks]

It continually bewilders me to see an orchestral audition list for a SECTION position where a major concerto is asked in addition to the standard orchestral excerpts. This in turn makes us bassists slave away practicing the Bottesini or Vanhal concerto on heavy gauge orchestral strings. It makes me wonder...when am I going to ever play a concerto as a soloist with said orchestra? The answer is never.

Often during the first round of auditions the concerto is asked and the committee wants to see your style and sense of musicality...Why can't they hear something in the mid. register that's musical?? After all we're bass players and 95 percent of the literature is below the first G harmonic on the G string...Instead, us audition takers are forced to to make a sacrifice...

1) Thinner gauge, lower tension Orchestral strings: Helps greatly with the concerto but the actual sonority of the double bass is lost resulting in a thin, cello like sound.

2) Heavy gauge, thick orchestra strings: Works excellent for the excerpts but chokes the sound for the Concerto and makes it impossible to solo on.

String Trends...


1) Thinner gauge, lower tension Orchestral strings: D'addario Orchestra Lights - Works beautifully for the concerto aspect of the audition but not enough power for the excerpts. I've had similar results with: Pirastro Flat-Chromesteel, VELVET Compass 180 Suit and Regular.

2) Heavy gauge, thick orchestra strings: Evah Pirazzi has a wonderfully accented low frequency spectrum which contributes to a real "bassy" tone...Unfortunately once you get into the beginning of thumb position the sound is choked and muffled and due to the very wide gauge it makes them a chore to play with. I've had similar results with: **Pirastro Original Flexocores, Original Flat-Chromes.

**The Original Flexocore G is actually quite thin in gauge so it makes as a reasonable compromise for orchestral/solo playing.


I'd also like to mention that in Europe some orchestra's are now asking for the double bass to be in solo tuning...This to me is even more of a step in the wrong direction. Concerto's are fantastic but unless you're auditioning for a solo position in an opera orchestra or a major Principal Position you're not going to need to play up there...Nor does a music director want to actually HEAR it. Apparently 40 years ago the required "solo" would have been Verdi's Otello or Rigoletto or Ginastera Variacones...I don't know what's more musical than these excerpts and it uses the full range of the instrument showing the true tone of the double bass.

It seems that nowadays the modern bassist needs a few sets of strings/set-ups...

1) Audition strings...Slightly brighter, more penetrating and thinner strings to ensure you can play ALL the repertoire with the utmost clarity even in the highest register. Funny enough once you get the job you're going to be asked by your Principal to use dark heavy gauge strings to belt out the lows...I still don't see the logic of the concerto for the audition??

2) Heavy gauge strings or wrapped gut for when you GET the job. (I prefer wrapped gut solely for orchestra)

I'd like to hear from some of you, perhaps other people on the audition circuit about your choice of strings and experiences in projecting through the screen. If it were up to me the audition would be just excerpts and the ideal sound would be one that depicts the true character of the double bass.