I'm primarily a string bassist, so it doesn't happen. Being one of four bassists in an orchestra is excellent training to be a pro. You're all playing the same notes at the same volume, because you're part of a section. It's like basic training in the function of bass, as taught by the great masters.
I get a lot of calls for upright bass because in country, bluegrass, blues, trad-jazz and Rockabilly, bandleaders or producers prefer it. I approach each style entirely different, because it's all about the ensemble. I'm not pointing that out for ego's sake. Quite the opposite. (In fact, it would be a great way to hide from the authorities, if y'knowm sayin' here.)
Self-taught players (especially guitarists, simply because it's not an orchestral instrument) usually aren't concerned about playing together in an ensemble. There's nothing wrong with that, it's simply a factor to take into consideration.
Especially in regard to rehearsal, because conductors generally run through pieces from beginning to end without stopping, and you're supposed to note your problem areas and work them out on your own time.
That's just vastly more efficient than the way most rock or other types of bands rehearse, which is to stop frequently to work out mistakes, so that it takes hours to get through a single tune. A forty piece orchestra can get through at least four pieces per hour (it usually sounds like a herd of cats set loose in a room full of rocking chairs, but getting 40 people to do anything together is a daunting proposition in any case).
I estimate that probably around 80% of the music I'm called upon to play is not stuff that I prefer to listen to on my own. It doesn't matter. That doesn't mean I don't like it, per se, only that it doesn't matter. It's my job.
Stanley Clarke said
in an interview; quote:...Q: But what led you to change your purist attitude about yourself and your music?
STANLEY: Well, I was actually starting to be more comfortable, and then be more like myself. When I was being a purist, I wasn't really being myself. I had taken on this attitude to get myself through a couple of things. But once I'd been in New York for a year and done a whole bunch of studio work and played on quite a few albums, I felt a little more stable and into the music world. Then I just starting projecting some of the things that I would normally project. I've always been one to listen to all kinds of music, still do to this day. I have to say I just refuse to be narrow, as far as what I take in from the world.
Q: Bass playing has changed remarkably, and in many ways, since you first started playing.
STANLEY: It's no longer in the back. Or I'll put it this way: every instrument has a significance attached to it. What I mean is, most people think that everyone who plays piano is intelligent, the drummer's usually dumb, and that the bass player's just slow, the guitar player is the star, and the singer has the biggest ego. And some guys get into that. But fortunately, it's just not true; some of the dumbest people I know are piano players. (laughs) Yes, the bass has changed, partly due to just attitude change about approaching the instrument.
Q: It's also been partly due to particular people. Paul McCartney's been credited with bringing the bass up front, and you've been influential due to your styles and techniques, too.
STANLEY: [Acoustic] bass is definitely my main instrument because I actually like it?because it's large, it has a nice sound to it, and you have to take really good care of a bass. There's a whole ritual, just to get the bass together, to play. When you're playing classical music you have to wipe the bow down, you have to touch the bass a lot. You can't just pull it out of the box and play it; you have to wipe it down, clean the strings, just make sure all the working parts are there.
Q: It's difficult to explain what a musical instrument becomes to you.
STANLEY: Well, for a man, an acoustic bass could be like a woman. It kind of borderlines on that sort of thing.
Q: There are two kinds of people. There are those who, when presented with something new and strange will say, 'I don't like it,' and walk away. And there are those who are attracted to what is different. Being attracted to what is different will lead you to experiment more as an artist.
STANLEY: Well, you know, a lot of people feel that they have to love something in order to experience it. I completely have a different view, especially when you're viewing art. There's very few things that I really, truly like, that really get me in the gut. But, I definitely have the ability to experience anything. I won't even go so far as bringing in my own likes about it; it's just a pure observation.
A person doesn't necessarily have to look at something and then make a decision for himself whether he likes it or not. You can just look at it and move on. Believe it or not, that's the way most musicians play music, anyway. If you sat down with another musician and in your mind you're thinking, 'I like that, I like that, I don't like that,' it wouldn't work. What musicians do... you're playing, and the notes are going. Then, maybe if you've taped the thing, you can sit down and listen to it and see if it's any good. But I personally like to just play and move on, go play something else or listen to some music, put that down and go listen to something else. There is certain music that I personally like, that I put on?I usually like to put that on while I'm doing certain activities. In other words, I'll give some music a purpose.
That's probably what a lot of people get confused with, when they listen. Like a normal guy?a kid?he'll put on a record and the record has to fit in with his clothes, with his buddy's clothes.... I mean, so many people like music because of so many reasons other than themselves, and they're not even aware of it. To be real honest, when someone tells me, 'I like that'; or, 'I don't like that'; or 'that was boring,' it's very rare that I'll take that person's consideration that he has about the music to heart. Because I'm not sure whether the person really feels that way, or whether he's basing that on some arbitrary thing that has nothing to do with the music he's listening to, or even better than that, nothing to do with him! ...
Personally, the best part is when people on here complain about other musicians, or accuse the soundman of plotting to mess with their sound that I am thrilled at never having experienced that. I'm not there to be the star, the band is. I'm not there to be the bass player, I'm there in service to the song, as part of the rhythm section. Again, It's not ego, it's exactly the opposite. I figure the ego should come from the respect of your peers, and that is in proportion to your respect for the music, period.
By the way, since this thing seems to have turned into a novel anyway, I wanted to ask if it would be okay to print this picture up for my students as a demonstration on proper hand position:
Your thumb is cantilevered opposite your middle fingers, properly spaced in the one finger per fret position, relaxed, casual curl, where you'll be able to play the rest of your life without your carpal tunnel looking like something that was gnawed by rodents... See what I mean? I can babble for a week, or just hand them this pic and go; your hands should look like this.
Of course, it doesn't hurt that you're the baddest cat around when it comes to playing the damn thing, if y'know what I'm saying.
