Unofficial prep guide · TMEA 2026-27 · Double Bass
Storch-Hrabe 57 Studies Vol. I No. 23
Josef Hrabe (ed. J. Storch). 57 Studies for Double Bass (Storch-Hrabe, Vol. I).
Unofficial prep guide. No affiliation with TMEA. Official materials and errata: tmea.org/orchestra/audition-material/etudes/
What this etude trains
The technique focus.
Bow control, intonation in half and first positions, rhythmic variety, and the kind of tone production that allows the bass to project a melodic line rather than just provide harmonic support.
About the composer
Josef Hrabe (1816-1870) composed foundational etude collections for double bass that remain in use today. The Storch-Hrabe edition is the standard American teaching edition and covers a comprehensive technical progression from fundamental to advanced.
Errata
Where to find the current-season corrections.
Bass etude errata from TMEA for the Storch-Hrabe collection address slur markings, bowings, and occasionally fingering suggestions that differ between the original and revised editions. Because bass students often use parts transposed into different notation conventions (treble clef sounding an octave lower, or bass clef), verify which notation TMEA requires and confirm current-season corrections at tmea.org/orchestra/audition-material/etudes/ (May 1 to May 15, frozen September 1).
Official errata source
TMEA posts errata May 1 to May 15 each year and updates them until the September 1 freeze. Region cuts and excerpts post August 1 at noon Central Time. Area cuts post September 1.
Verify errata on tmea.orgCommon mistakes
Practice traps on this etude.
- 1
Rushed bow strokes on melodic passages: bass players often subconsciously speed the bow when the left hand faces a challenge, which thins the tone at exactly the moment it should be richest.
- 2
Left-hand shifting without a clean arrival: on bass, slides are more audible than on upper strings, so shifts need to be quick, quiet, and practiced in isolation.
- 3
Playing with a flat bow hair when the study calls for a full, centered contact point. Many bass students default to a light tone that works in an orchestra section but does not project in a solo audition setting.
- 4
Ignoring dynamics. This is the most-cited deficiency in bass audition feedback.
- 5
Uneven rhythmic subdivision: bass players at the high school level sometimes let rhythmic groups (triplets, sixteenth-note runs) spread or compress unevenly.
Panel perspective
What a judge listens for on this etude.
- Tonal projection: does the bass fill the room?
- Intonation, particularly on the E and A strings in the lower positions.
- Rhythmic precision and evenness.
- Dynamic contrast: not just loud and soft, but a real gradation.
- Bow distribution: full bow strokes when the phrase demands them, not cautious half-bow playing.
Scored takes on this etude
How other students are scoring it.
Record this etude. Get scored free.
Hear what a panel hears before August 1.
Record your take of this etude. The Judge scores it on the same five dimensions a real panel grades: intonation, rhythm, tone, technique, and musicality. Measure-level notes show exactly where your take cost points. Three free takes, no card.
Record this etude and get scored freeCommon questions
What students ask about this etude.
What does Storch-Hrabe 57 Studies Vol. I No. 23 train?
Bow control, intonation in half and first positions, rhythmic variety, and the kind of tone production that allows the bass to project a melodic line rather than just provide harmonic support.
Where do I find the official TMEA errata for Storch-Hrabe 57 Studies Vol. I No. 23?
The official errata are published by TMEA at tmea.org/orchestra/audition-material/etudes/. Errata post May 1 to May 15 and are updated until the September 1 freeze. Always verify corrections directly on that page before preparing for auditions.
What are the most common mistakes on Storch-Hrabe 57 Studies Vol. I No. 23?
Rushed bow strokes on melodic passages: bass players often subconsciously speed the bow when the left hand faces a challenge, which thins the tone at exactly the moment it should be richest. Left-hand shifting without a clean arrival: on bass, slides are more audible than on upper strings, so shifts need to be quick, quiet, and practiced in isolation.
Is this an official TMEA resource?
No. This is an unofficial prep guide. Orchestra Kingdom has no affiliation with the Texas Music Educators Association. All official materials, errata, and audition requirements come from tmea.org.
Can I use Orchestra Kingdom to score my TMEA etude practice?
Yes. Record your etude and get scored on the five dimensions a real panel grades: intonation, rhythm, tone, technique, and musicality. The Judge gives you measure-level notes on where the take cost you the most. Three free takes, no card required.
When do region excerpts and cuts post for TMEA 2026-27?
Region cuts and excerpts post August 1 at noon Central Time. Area cuts post September 1. Both are published by TMEA on the official audition materials page.
All 2026-27 TMEA etudes
See all eight etude prep guides