Next Level Bassist Left Hand

Essential excerpts from the
Orchestral Literature
Meticulously edited with fingerings, bowings, and
philosophical concepts from Hal Robinson, Principal
Bass of the Philadelphia Orchestra. On Sale Now.
Honed and refined
for 25 years in
Robinson's studio
Available
exclusively through
Ranaan Meyer
Publishing
The Quad
Volume 1
Edited by Hal Robinson
© 2014 Ranaan Meyer Entertainment
Featured in
Volume 1:
R. Strauss
Don Juan
Mozart
Symphony No. 35
Beethoven
Symphony No. 9
Orchestral Solos
Smetana
Bartered Bride
will on as well. It still blows my mind to think that I can make a
living performing. I feel so lucky when I have the opportunity to
“go to work”.
How have you chosen
which auditions to take?
I’m still relatively new to taking professional auditions. I’ve only
taken a few professional and/or substitute auditions. Now that I’ve
graduated, I’m looking at all the positions as they become available. I
make sure before deciding to take an audition that I have an adequate
amount of time to prepare. If it’s right in the middle of a lot of
obligations that I can’t move or eliminate, I would rather not take the
audition. When I choose to take something on, I like to give it my all
and not cram it into an already busy schedule and hope for the best.
That’s not a good formula for success.
What’s your approach to
dealing with nerves?
Nerves are something I continue to struggle with to this day. I’m
not sure they’ll ever entirely go away. Since I’m new to professional
auditions, I’m sure there are more struggles ahead, but each experience
helps me grow and learn more about my tendencies. One way I work
on this issue is putting myself out there by volunteering to play for
other people in bass classes, or performing a piece on a collaborative
recital, or asking fellow musicians to listen in the practice room. The
most important thing is to play the repertoire you’re struggling with
for others so you have some experience. With experience comes
confidence, and I believe confidence is the key to settling nerves.
The auditions I’ve had the most success with, tend to be less formal.
When the committee is visible, and perhaps talking to you before
you play, I feel much more comfortable. I feel like being able to speak
to someone before playing has always helped me. Even answering
simple questions like where I went to school, what instrument I’m
playing on - talking helps me shake out the nerves, and allows me
to feel more like myself. This isn’t the case with most professional
auditions so getting more experience with these will be important.
I’ve already learned a lot in the first few I’ve taken.
Do you want to discuss beta blockers?
I have tried beta blockers, and I definitely don’t see anything wrong
with people using them. I have used them in settings like recitals or
concerts for which I’m particularly stressed. I don’t think that they
create a performance advantage. I think that they help more with
settling nerves and giving you the opportunity to perform at your
own personal best. It’s not a musical steroid that allows you to play
10 times better than you do in the practice room, it just makes you
capable of showing what you can do. I’m all for them!
When it comes to auditions, are there
any solos or excerpts you hope
you’ll get to play?
I love being able to play pretty much any excerpt where I can express
myself as a musician, rather than being a simple metronome. I like
the excerpts that I can mess around with musically, and make my
own. The Beethoven 9 recits, Bottesini Concerto No. 2, Otello soli -
12 SUMMER 2014 NEXT LEVEL BASSIST