Darren Sacks

These are three of the most common bow issues I come across in my private 1:1 double bass coaching.

In the post COVID-era, online/virtual double bass lessons are becoming more common. But are they effective and should you consider them?

Yes, you should absolutely consider online instruction. Except in one situation:

If the student is a complete beginner or under 13; it is likely not to be the best fit.

However, online instruction allows you to choose quality instructors outside your normal commute radius. You can study with orchestra players performing in highly competitive cities with a reputation for quality teaching.

If you are on the West Coast and you want to apply to an East Coast conservatory, you can study with alumni and professionals virtually that can give you all of the best practices for getting in.

At this stage, it’s not about virtual vs in-person; it’s about the quality.

Why did I first get the idea to become a double bass “audition coach”?

I was a “good kid” in high school that just wanted to get A’s in class like many of the other high performing students that were around me. I used to think others were achieving more because they were smarter than me.

Later I learned that it wasn’t about intelligence. It was about the types of structure, routines, and environment that they had.

Many of these high achieving students end up coming to me for the reverse issue. They do well in academics, but struggle to win orchestra auditions on double bass.

It can feel demotivating when you lose or get waitlisted your BUTI or NYO-USA audition year after year. You listen to everything your teacher tells you - yet you are not getting acceptance letter.

That’s where I come in and help. I take the guesswork out of audition prep and teach you how to evaluate your playing through the lens of the adjudicators. I’ve helped countless students win All-States, get into Interlochen, Northwestern, and others.

You’ve probably done everything right by the books: youth orchestras, excellent music colleges, and elite teachers.

Then you audition for fellowships like Tanglewood, BSO fellowships, major summer festivals, or orchestral training programs.

And get…rejected or waitlisted. Again.

Why? Many institutions emphasize solo playing, solo repertoire, and solo competitions. Sometimes this comes at a cost of spending less time on deep orchestral excerpt study.