The Next Level Bassist Practicing Issue
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<strong>The</strong><br />
ext evel<br />
N L<br />
<strong>The</strong> Practice <strong>Issue</strong><br />
Rufus Reid<br />
shares valuable insight into how<br />
to get the most out of<br />
your practice sessions.<br />
Fall 2013<br />
assist<br />
David Allen Moore<br />
gives you a cohesive and<br />
easy plan to follow in order<br />
to gain the most effective<br />
results from practice.
2 • <strong>Next</strong> <strong>Level</strong><br />
assist<br />
ext evel<br />
N L<br />
Letter from the Publisher<br />
Practice covers a surprisingly large amount of our lives as musicians. What do I mean by that? Well,<br />
whether you’re in the practice room, or walking around thinking about how to get better, you are still<br />
practicing. Practice can be done with the instrument, away from the instrument, and it has an on and<br />
off switch (even though sometimes, you have to force yourself to press it!) As a bass player, you have<br />
time to excel on the instrument, trying things out, experimenting to decide if an idea works or not. You<br />
may also be implementing a design that you already know works. You will ultimately spend thousands<br />
of hours practicing intonation, rhythm, new music, improvisation, feel, awareness — the sky is the limit.<br />
Away from the instrument, you should find yourself thinking about practice.<br />
In this edition on practicing, you will find a variety of approaches to very specific aspects of double bass<br />
playing. <strong>The</strong> information contained may run against your own knowledge, or things you have heard in<br />
your studies, but every word in these pages is excellent and worthwhile. Your challenge is to test these<br />
approaches and see how they can help you improve.<br />
I found my own way of practicing through years of playing the bass, collaboration, study, listening to<br />
trusted mentors, listening to non-musicians, and our old friends, trial and error. Like everything else on<br />
the bass, it falls to you as the individual to put the pieces together. You have to figure out what works for<br />
you! Personally, I’ve always thought of myself as something of a doctor, diagnosing where problems lie<br />
and deciding how to improve the situation. What medicine do I need to make the thing I’m working on<br />
better?<br />
Finally, a word about technology. <strong>The</strong>re are a thousand supplies at your disposal as a musician today.<br />
<strong>The</strong> metronome, video, recording on your computer or phone, the list goes on and on….<strong>The</strong>se devices<br />
can offer perspective. Outside perspectives are so important for feedback — this isn’t just about playing<br />
for others, it’s about using the “tools of self-reliance” to aid in your growth. I’m going<br />
to go out on a limb here and say if you aren’t using, or learning to use, those<br />
tools in your practice, you’re probably not maximizing the time you’re spending!<br />
No matter what you get out of this particular edition of <strong>The</strong> <strong>Next</strong> <strong>Level</strong> <strong>Bassist</strong>, remember<br />
to take an individual approach to your own practice, and use it to better<br />
yourself at all times.<br />
It’s my job here to restate that this is supplemental information, like a library book<br />
or encyclopedia. This is not a substitute for real life experience, but if it can help<br />
you find more solutions for practicing, as you progress as a double bass player<br />
into your career, then I’ll see you on the <strong>Next</strong> <strong>Level</strong>!<br />
Ranaan Meyer<br />
Publisher<br />
assist
Sta<br />
Publisher • Founder<br />
Ranaan Meyer<br />
Editor • Sales<br />
Brent Edmondson<br />
Copyeditor • Layout<br />
Jessica Arnold<br />
johnson<br />
string instrument<br />
VIOLINS, VIOLAS, CELLOS, BASSES & GUITARS<br />
www.johnsonstring.com<br />
THE BASS SHOP<br />
26 Fox Road<br />
Waltham, MA 02451<br />
800-359-9351<br />
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susanwilsonphoto.com<br />
Contents<br />
Feature Stories<br />
To Practice or Not to Practice? 9<br />
By Rufus Reid<br />
Make Practice Perfect 20<br />
By David Allen Moore<br />
Exclusive Interviews<br />
Getting <strong>The</strong>re 3<br />
With Jonathan Borden,<br />
Dan Carson, and Alex Jacobsen<br />
Additional Features<br />
Transition and Stronger 15, 18<br />
Music by Ranaan Meyer<br />
<strong>Next</strong> <strong>Level</strong> <strong>Bassist</strong> Review: 24<br />
DPA d:vote 4099B<br />
By Ranaan Meyer<br />
<strong>Next</strong> <strong>Level</strong><br />
assist • 3
Getting<br />
<strong>The</strong>re<br />
An NLB<br />
Exclusive<br />
Interview<br />
Feature!<br />
Auditions can make or break your career.<br />
From practice routine to mindset and everywhere in between, some of the industry’s<br />
brightest rising stars give their most valuable advice and discuss the strategies<br />
they used before stepping in front of the screen.<br />
NLB: How do you decide which auditions to take? Do you<br />
have a preference of named-chair vs. section auditions?<br />
Dan Carson: I had never taken an audition before, and my<br />
teachers kept telling me that I should “get one out of the way”<br />
before my junior year. I didn’t end up doing one last year,<br />
but I knew that auditioning for IU orchestra seating and<br />
summer festivals weren’t the same experience as a professional<br />
audition. I needed to go out and get exposure to the<br />
real world. It wasn’t necessarily that Alabama was holding<br />
a Principal audition, but it was an orchestra at a level I was<br />
comfortable with approaching so I decided to take it on.<br />
Alex Jacobsen: Since I was in school, distance was a big priority.<br />
I didn’t want to drop a lot of money on something<br />
I wasn’t very condent in while I was still developing the<br />
“package,” my way of presenting myself at auditions. Another<br />
big consideration was the size of the list, and how that<br />
t into what I was doing at the time. I don’t want to destroy<br />
myself for nothing! As a student, I was into any audition I<br />
could get my hands on. I didn’t say things like, “I can’t see<br />
myself in this orchestra.” I just wanted to throw myself into<br />
something. Eventually, I would like to perhaps play principal<br />
in an orchestra because I enjoy sitting in the front and<br />
making decisions. Ultimately, a principal still needs to play<br />
with the section, so the skill sets have a lot of crossover, and<br />
I’m excited to play in any position.<br />
NLB: What sort of prep work did you do for this audition?<br />
Was it dierent from other auditions you’ve taken? How was<br />
it dierent from your routine when not preparing for auditions?<br />
Jonathan Borden: I got the list about ve weeks before<br />
hand, and used a system of A, B, and C-lists based on how<br />
well I knew the excerpts. I focused on the least familiar excerpts:<br />
my “C”-list rst, and tried to build all the repertoire<br />
towards an “A”-list level. I wanted to get all of my decisions<br />
about ngerings and bowings – as well as musical decisions<br />
– to a good level as early as possible. About two weeks before<br />
the audition process, I started trying to really practice the<br />
performance element; I played for a lot of people, gave mock<br />
auditions at school, pulling people into my practice room all<br />
the time to get feedback. I had only taken the Boston Symphony<br />
audition previously and the approach was a little different.<br />
I felt more comfortable with the whole process and<br />
was able to rene the approach – I specically knew I needed<br />
to develop the performance aspect of the audition and was<br />
able to focus on how I would play when I got on stage. I<br />
spent some time on keeping cool in the moment.<br />
AJ: In my previous auditions, there was a lot of variety of<br />
approach. I would divide my list into three sections and basically<br />
do a lot of non-musical planning of my preparation.<br />
In this audition, I decided to do everything I could to make<br />
each excerpt sound as good as possible right away. In the<br />
past, I’ve allowed intonation or tone issues to go by for a day<br />
or a week, but I wanted to eliminate that tendency. A month<br />
out, I wanted to make sure I captured the essence of each<br />
excerpt so I would be used to that at the actual audition.<br />
DC: I nd that my practice techniques are perhaps a bit lacking<br />
in variety, but about 85 percent of my time is spent working<br />
things up with the metronome. You have to really take<br />
a passage down to the fastest tempo you can play perfectly,<br />
which for me is usually quite slow. I start speeding up and as<br />
soon as it doesn’t feel perfect anymore, back down from that<br />
tempo and work out the issues. It’s very methodical, and I<br />
try to be a very logical thinker. Most of the practicing I do<br />
seems very black-and-white. Recording myself was another
great resource. Sometimes it’s hard, and I didn’t always want<br />
to listen to myself, but it’s really for the best.<br />
NLB: How do you deal with nerves the day of?<br />
JB: At my Boston audition, the nerves really hit me on stage.<br />
I tried playing for a variety of people leading up to that audition,<br />
having read that you should do that. I even played a<br />
few times for my studio behind a screen. ey would try to<br />
mess me up by throwing a chair or something meant to break<br />
my focus! All that preparation was great, but when I got on<br />
stage, I still had a nervous reaction. I don’t think I played as<br />
well as I could have because of the nerves. I learned so much<br />
by just taking that audition. People will say that the best way<br />
to get rid of nerves is to just play for people, but the best way<br />
is really just to play a lot of auditions. e experience put me<br />
on the right track. First, I needed an audition to understand<br />
what it would be like in the moment, and then I developed<br />
several breathing techniques. e two books by Don Greene<br />
(Performance Success and Audition Success) and e Inner<br />
Game of Tennis all helped me understand the mental state I<br />
needed to be in to have success and play well. Instead of just<br />
playing for people, I went through a structured mental warmup<br />
routine before playing. I was getting in the right state<br />
of mind rst. When I got to the audition, I had this routine<br />
that I could fall back on to feel comfortable.<br />
I think that it’s a worthwhile goal to learn how to<br />
master your nerves and be in control of your body. I learned<br />
a lot from it.<br />
DC: What I’ve been telling people is that I was really taking<br />
this audition for practice in the rst place. I wanted to<br />
experience the type of nervous reactions that people always<br />
talk about when discussing auditions. In the nals, my bow<br />
was just bouncing everywhere and my right hand could not<br />
stay still! It was frustrating but it was also exactly what I was<br />
trying to discover by taking an audition. I went in not expecting<br />
anything, and I would say that is almost the best way<br />
to handle nerves. e approach of being condent in what<br />
I have to oer and trying to enjoy myself playing because I<br />
love music is better than worrying about playing a certain<br />
excerpt better than someone else. If you are trying to make<br />
some great music, you won’t be a slave to nerves.<br />
NLB: Now that you’ve won your job, what’s next? How often<br />
and for what are you practicing now?<br />
DC: I was initially inclined to take a break from auditioning,<br />
but a lot of people in my life have encouraged me to continue<br />
auditioning right now – especially for other principal positions.<br />
I am in good shape, and it would be great to nd some<br />
momentum from this success into another. I don’t think that<br />
section positions are o-limits by any means, but one of the<br />
reasons I wasn’t hesitant to take the position in Alabama is<br />
because I’ve been told that winning a principal job with experience<br />
as a principal is easier than simply winning that job<br />
outright. Detroit and Vancouver are a bit too soon on the<br />
horizon, but soon enough I think I will be back out there on<br />
the scene.<br />
AJ: At this point, I have a lot of the orchestra parts for next<br />
season and I’m going to be practicing them quite a bit. I<br />
have a probationary period ahead of me and I want to be<br />
completely on top of my game, not slowing anyone down. I<br />
think the main focus of my practice is making sure I know<br />
what I have to do to play well in a very nice orchestra. I felt<br />
like I really stepped up my game for the audition, playing at<br />
a higher level than I normally play. It’s vital that I keep my<br />
game at that level from now on, making it the new normal.<br />
It’s always good to keep Bach on the plate too – it’s really<br />
pretty scales and a great way to keep everything sharp.<br />
JB: I’ve spent so much time in school working on excerpts<br />
– I really tunnel-visioned the whole audition process. I want<br />
to work on some more solo repertoire. I’m giving a senior<br />
recital next year at Juilliard, and I’ll be working on some<br />
Bach, sonatas, and other things. I’d love to develop my solo<br />
playing to the same level as my excerpt playing. Juilliard was<br />
great at negotiating a way for me to nish my degree and<br />
start playing with Bualo in January. I’m really glad to be<br />
entering my career with a bachelor’s degree. Many people<br />
have master’s degrees and a degree is a must have these days.<br />
NLB: What was the one moment you had studying bass that<br />
changed everything for you? Was there a word from a teacher,<br />
or a fellow student, or a specic turning point?<br />
AJ: ere was one point in high school when I wasn’t really<br />
practicing very much. I showed up to a lesson, and my<br />
teacher asked if I had worked on the rep he gave me. Aer<br />
I played a bit, he came over to my bass and just laughed. In<br />
between the feet of my bridge was a spiderweb and the spider<br />
was just hanging out there. It could not have been more<br />
obvious I hadn’t touched my bass all week, and at that point<br />
I felt really embarrassed. My teacher called my mom and<br />
told her I could have been making so much more progress<br />
if I worked at it. It was an existential “oh crap” moment because<br />
I identied myself as a bass player. I realized I could<br />
either coast or actually try to apply myself. It wasn’t just that<br />
moment, but that was a very vivid memory to spur me on to<br />
where I am today.<br />
JB: I was on the fence for a while. I didn’t really choose<br />
to be serious until the summer aer my junior year in high<br />
school. I was at Bowdoin and I got really inspired by Kurt<br />
Muroki – watching him play and seeing what he was capable<br />
(Continued on Page 6)
of really pushed me to try a lot more. It was a combination<br />
of things, but I remember playing Beethoven 9 with him and<br />
it was awe-inspiring to experience that incredible piece in the<br />
orchestra. Aer, I came to Juilliard pre-college and it gave me<br />
a glimpse into conservatory life. When it came to decision<br />
time, I had applied to conservatories and universities. I was<br />
undecided but all those experiences made me feel certain that<br />
I should go to Juilliard and pursue this full time.<br />
NLB: What advice would you give to someone who is in the<br />
beginning or middle of their audition career? Was there a<br />
hopeful thought that kept you going, or something driving<br />
you forward?<br />
DC: I would have to say that having a positive and carefree<br />
attitude will come through in your playing. My mom always<br />
tells me, “row your hat in the ring.” ere were all these<br />
times when I wanted to bail on opportunities like festival auditions<br />
because I didn’t think I was prepared enough. e<br />
only way you know you’re not going to succeed is to not try.<br />
It’s worked out every time for me. You may not know what’s<br />
going to happen, but if you bring your condence and positivity<br />
to everything you do, you have a great chance.<br />
AJ: I heard this quote a long time ago that when you rst<br />
start playing an instrument, the things that come out don’t<br />
match what you have in your mind. You have tastes and likes<br />
or appreciate what a master player is doing, but hearing yourself,<br />
you know it’s not the most amazing thing anyone’s ever<br />
done. It takes years and years to get to that level – there are<br />
still a million things I want to x in my own playing, but just<br />
having patience and not freaking out when things aren’t immediately<br />
going your way is a huge part of development and<br />
something I want to remember going forward. You can’t have<br />
success without patience and dedication. Cut yourself some<br />
slack every now and then. You have to push yourself as hard<br />
as you can, but realize that you’re just a human and everyone<br />
has to work for everything they’ll ever get. Also, having fun<br />
with music – I almost forgot! Playing with dierent people,<br />
nding music you like playing – it’s important to nd a way<br />
to express yourself through music. Jamming, playing something<br />
on piano, it’s important to be able to relax while playing<br />
music and focus at other times. I played a lot of jazz in high<br />
school, although I’m not in the same shape I used to be. I play<br />
piano as well. It’s a nice way to visualize music and to sound<br />
things out. Bass is notoriously dicult to play in tune, so if<br />
you’re looking at something for the rst time, it helps to play<br />
it robotically on piano to get it in your ear.<br />
NLB: Do you have any teaching experience? Did that aect<br />
your career? How? Do you plan to teach now?<br />
JB: My teaching experience is more sparse than I would<br />
like. I’ve been working with the Pre-College division for the<br />
last three years; playing in the orchestra, coaching the players,<br />
and teaching some private lessons as well. I hope to get<br />
more experience in the future. It would be excellent to have<br />
a studio in the future. It would help me learn. One of the<br />
best ways to develop your playing is to explain those things to<br />
someone else.<br />
AJ: I’ve taught a few private lessons here and there, and I also<br />
taught at a camp for 8-14 year-olds that I went to as a little<br />
kid. It was very cool to be on the other side of the fence, conducting<br />
orchestra pieces and trying to communicate to eight<br />
year-olds what I wanted to happen – it was way harder than I<br />
thought it would be! I don’t think teaching has factored into<br />
my orchestral career yet, but I wouldn’t have gone into music<br />
without the great teaching I had, and I would very much like<br />
to pass the baton to the younger generation going forward.<br />
at’s how I learned and how I got so much out of music.<br />
With teaching, you can see a subject from a totally dierent<br />
angle. Watching someone in a lesson struggle with something<br />
I have experienced and overcome, you have to come up with<br />
the answers for them all over again. I really think you can use<br />
those perspectives to improve your own playing too. It’s like<br />
a recording in that way. If not essential, teaching is extremely<br />
important to musical development.<br />
NLB: Do you have any excerpts or solos for auditions that<br />
you feel extra comfortable with? Anything you want to be on<br />
a list because you’ll nail it?<br />
JB: I’ve always felt very good about my Koussevitzky concerto.<br />
In terms of all the solos you can play for auditions, it’s easy<br />
to negotiate, easy to be expressive on. I nd that the pressure<br />
helps me be extra-expressive, too. It’s perhaps the best choice<br />
available to us. In terms of excerpts, Beethoven 9 letter M<br />
is a fun one. It’s pretty tough, but I know I can play it well<br />
and I can have fun with it on stage. I’ve always liked the rst<br />
movement of Mozart 35. All the excerpts I feel I can groove<br />
to are friendly. Tchaikovsky 4 isn’t too dicult, and it’s fun to<br />
play loud!<br />
DC: I was inclined to say, “No, I don’t feel comfortable with<br />
any of them.” (He laughs.) But I feel that the rst movement<br />
of Brahms 1 at Letter E really caters to some of my strengths.<br />
It is a comfortable loud dynamic and it aords a lot of opportunities<br />
for big vibrato. I’ve been really developing that into<br />
one of my strengths as well. It’s at a moderate tempo so I don’t<br />
feel tense while playing it. Pieces like Mozart 35 are always<br />
risky for tension, even when they’re under my ngers. I’ve<br />
found over the past few years that there are certain excerpts<br />
that have been barriers for me. A couple years ago, it was rehearsal<br />
9 in Ein Heldenleben, but performing it at Aspen this<br />
past summer, I found a magical something about playing it. I<br />
feel like a contender with that one now! Now, I work on Mozart<br />
35 day-in and day-out, and while it’s my current barrier, I
know that I’m going to nd the way to negotiate it.<br />
AJ: Mahler 2 rst page is my favorite excerpt – it’s really,<br />
really loud and then really, really quiet, and very rhythmic –<br />
all these things are my strong suits. I really enjoy being very<br />
intense and, not metronomic, but incredibly insistent. One<br />
thing that Joe Conyers told me leading up to this was that he<br />
tries to make every excerpt his favorite excerpt – don’t have a<br />
nemesis on your list! at was a big part of my preparation.<br />
e committee was going to hear everything on the list and<br />
I needed to be ready for that no matter what.<br />
I constantly freak out about Mozart 35, the rst<br />
movement. It’s really easy to not get that excerpt exactly<br />
right. e fourth movement…Well I’ve worked on it so<br />
much because I used to hate it, so that’s more comfortable<br />
now. But when you look at the rst movement, there are<br />
all these octaves that will sound wrong if they’re not exactly<br />
right, followed by trills in the low register. ese are things I<br />
have to work on a lot to feel comfortable.<br />
NLB: How does an orchestra job t in with your career<br />
goals? Did you always want the job, did you grow to love it,<br />
do you want to use it as a platform for something else?<br />
JB: Getting a job – any job – has always been at the forefront<br />
of my mind. Now that I have that, I’d like to collaborate as<br />
much as possible. Once I’m settled in, I’d love to give more<br />
recitals and participate in more chamber music. It’s hard to<br />
say whatever else is down the road, but I’m open to the possibility!<br />
AJ: I’ve never had a job before so this is the beginning of a<br />
very new phase for me. Right now, I feel like I already know<br />
how to play in orchestra, but i want to build those skills as<br />
much as I can. I would like to play principal at some point<br />
in my life, but I’m sure I could be happy playing in National<br />
for the rest of my life. Well, I’m assuming, because I haven’t<br />
actually played there yet! If the opportunity ever came up, I<br />
wouldn’t turn it down, but all that is still a long way down the<br />
road. I’m focused on what’s immediately ahead.<br />
NLB: Final thoughts?<br />
DC: I’d have to take the Nike slogan: Just Do It. e only<br />
way you know you’re not going to win is by not doing it!<br />
JB: Everything that I’ve done in school has been leading<br />
up to this. All the non-professional auditions have all been<br />
geared towards preparing me for an orchestral audition. I<br />
don’t want to generalize, but it seems that many people want<br />
to put o auditioning until they feel ready. I started preparing<br />
for the Bualo audition when I rst arrived at school!<br />
Get excerpts under your belt, start thinking about the con-<br />
certi and Bach movements that you will need to play in a few<br />
years. Take strategic summer festival auditions that include<br />
repertoire you haven’t seen yet, and plan out your future over<br />
a long period of time. Get your hands on some lists, nd out<br />
what might be asked of you. Take nearby auditions. You<br />
have to get used to doing this. If you feel good with your<br />
playing, the bar isn’t so impossibly high that you shouldn’t<br />
try!<br />
AJ: Patience and enjoying music are two incredibly important<br />
ingredients to a successful music career. I haven’t exactly<br />
started my own career yet, but music is totally awesome<br />
and musicians are blessed to be able to devote their lives to<br />
something so beautiful and wonderful. e audition mentality<br />
is opposed to the fundamental nature of music, which<br />
is about openness and sharing and feelings. at’s more like<br />
real life, where auditions make you worry about out-playing<br />
someone, outrunning the bear. e real test of an audition is<br />
to have technical mastery and a personality. You have to develop<br />
them both – they’re really two sides of the same coin.<br />
Hal Robinson has always told me that he likes to develop<br />
musicality in his playing as early in his approach to a new<br />
piece as possible, because you can’t really accomplish anything<br />
without caring about it.<br />
Raised in Ridgeeld, CT, Jonathan<br />
Borden is entering his nal year of<br />
undergraduate studies at the Juilliard<br />
School studying under Albert Laszlo.<br />
He has appeared with the Tanglewood<br />
Music Center, the Pacic Music<br />
Festival, the Aspen Music Festival<br />
and School, and the Sarasota Music<br />
Festival. He will begin with the Buffalo<br />
Philharmonic in January 2014.<br />
Alex Jacobsen, from Albuquerque,<br />
New Mexico, began studying bass at<br />
age 14 with Mark Tatum. When he<br />
was 18, he was accepted into the Curtis<br />
institute of Music where he studied<br />
with Hal Robinson and Edgar Meyer.<br />
He has attended Brevard Music Center,<br />
Aspen Music Festival and School, and<br />
the Verbier Festival.<br />
Daniel Carson started the bass in his<br />
fourth grade music class and has been<br />
playing for 11 years. He has studied<br />
with numerous teachers, including<br />
Andy Anderson, Jason Heath, Lawrence<br />
Hurst, and, most recently, Bruce<br />
Bransby.<br />
<strong>Next</strong> <strong>Level</strong><br />
assist • 7
Welcome<br />
Kurt Muroki<br />
Double Bass<br />
More<br />
Professor Muroki<br />
will join the string<br />
faculty this fall.<br />
than 180 artist-teachers<br />
and scholars comprise an extraordinary<br />
faculty at a world-class conservatory<br />
with the academic resources of a<br />
major research university, all within<br />
one of the most beautiful university<br />
campus settings.<br />
STRING FACULTY<br />
Atar Arad, Viola<br />
Ik–Hwan Bae, Chamber Music, Violin<br />
Joshua Bell, Violin (adjunct)<br />
Sibbi Bernhardsson, Violin, Pacica Quartet<br />
Bruce Bransby, Double Bass<br />
Emilio Colon, Violoncello<br />
Jorja Fleezanis, Violin, Orchestral Studies<br />
Mauricio Fuks, Violin<br />
Simin Ganatra, Violin, Pacica Quartet<br />
Edward Gazouleas, Viola<br />
Grigory Kalinovsky, Violin<br />
Mark Kaplan, Violin<br />
Alexander Kerr, Violin<br />
Eric Kim, Violoncello<br />
CONGRATULATIONS<br />
to alumnus Dan<br />
Carson on his recent<br />
appointment as<br />
principal bass with<br />
the Alabama<br />
Symphony.<br />
Kevork Mardirossian, Violin<br />
Kurt Muroki, Double Bass<br />
Stanley Ritchie, Violin<br />
Masumi Per Rostad, Viola,<br />
Pacica Quartet<br />
Peter Stumpf, Violoncello<br />
Joseph Swensen, Violin (visiting)<br />
Brandon Vamos, Violoncello,<br />
Pacica Quartet<br />
Stephen Wyrczynski, Viola (chair)<br />
Mimi Zweig, Violin and Viola<br />
CONGRATULATIONS<br />
to Professor Emeritus<br />
Lawrence Hurst on his<br />
recent Distinguished<br />
Achievement Award<br />
given by the<br />
International Society<br />
of <strong>Bassist</strong>s.<br />
2014 AUDITION DATES<br />
Jan. 17 & 18 | Feb. 7 & 8 | March 7 & 8<br />
For a complete list of Jacobs School<br />
faculty, please go to music.indiana.edu.
To<br />
Practice<br />
or<br />
Not<br />
to<br />
Practice...<br />
By Rufus Reid<br />
<strong>Next</strong> <strong>Level</strong><br />
assist • 9
When instrument, any instrument, it is<br />
10 •<strong>Next</strong> <strong>Level</strong><br />
assist<br />
we are just beginning to play an<br />
hoped we are told how to correctly hold it, how to make<br />
a sound with it, and that we must practice to play it better.<br />
It is also hoped by your parents and/or teacher that<br />
you become so enchanted with the chosen instrument, you<br />
don’t have to be told to continue practicing. When you<br />
begin to notice that you are improving as a player, the<br />
wonderment of discovery truly begins. Please remember<br />
that you practice for yourself because the reality is that<br />
no one really cares if you practice or not. As we mature,<br />
broadening our practicing and listening habits, continuing<br />
to emulate and imitate our music heroes, this process gives<br />
us a very satisfying feeling by enjoying the mere sound that<br />
you make. After 50 years of playing, I still enjoy the ups<br />
and downs, the frustrations, and the successes that this process<br />
of practicing gives us. I even enjoy just looking at my<br />
bass. :-)<br />
When we are young we practice to become really<br />
good. Perhaps one day, you may become a professional<br />
player. It is my opinion that we all should strive to play at<br />
a professional level. Please let it be understood that playing<br />
at a professional level does not mean you will be nor<br />
have to be that individual who makes his or her living as a<br />
professional musician. Those are two totally different subjects<br />
that do not need to be discussed at this time. I hadn’t<br />
thought for several years about making my livelihood as<br />
a professional musician until it just happened. When that<br />
happens, you still have to continue practicing to maintain<br />
that professional level. Everyone should strive to be one<br />
<br />
work diligently to be the best that you can be, because<br />
that is really all that one can do. That is all that YOU need<br />
to care about. You never know when someone is listening<br />
to you, so make every playing situation its optimum.<br />
When we are younger, we feel we have a lot of time, and<br />
you do, to a degree. What you do not have is time to<br />
waste. Remember, no matter how well you play, there is<br />
always more room to learn more.<br />
I loved playing music all through middle school and<br />
high school. I turned down sports if I had to make a choice.<br />
<strong>The</strong>re has never been anything else I wanted to do, but<br />
this has nothing to with deciding to practice. Personally, it<br />
took me three or four years at the beginning stage of my<br />
playing to be “shocked and truly inspired” to learn the real<br />
reason to practice.<br />
In 1964, I was in Japan as a United States Air Force<br />
Band member as a trumpet player. I listened to jazz records<br />
daily, every opportunity I could get. Two years prior<br />
to being shipped to Japan, I began to teach myself the bass,<br />
because I just loved to hear the sound on the recordings of<br />
Paul Chambers, Percy Heath, Willie Ruff, Sam Jones, and<br />
my hero, Ray Brown. While in Japan, there were many<br />
Jazz concerts being presented in Tokyo. In 1965 I saw Ray<br />
terson<br />
Trio and my life was forever changed. To make a<br />
long story short, I met him after the concert. I was in awe.<br />
His playing was amazing. <strong>The</strong> recordings I had were fabulous,<br />
but to see him up close was simply, astounding. <strong>The</strong><br />
crowd was begging for autographs. He noticed me and<br />
said, “Hold my bass, please!” Can you believe it? I couldn’t<br />
either! I held it ever so tightly. After he signed a zillion autographs,<br />
he then let me walk with him back to his hotel a<br />
couple blocks away. I told him I was in the military band<br />
and asked if I could have a lesson with him. He said yes,<br />
and to come back the next morning at 10am. I was at the<br />
hotel at 9am. I called up to the room promptly at 10am<br />
and he told me his room number and said to come up. As<br />
I walked down the hall toward his room, I heard the sound<br />
of the bass being bowed. He had left the door ajar. When<br />
I knocked, he said, “Come on in!” My heart was beating a<br />
mile a minute. As I entered the room, my mouth hit the<br />
<br />
with the bow! This is “<strong>The</strong> Ray Brown,” PRACTICING? I<br />
didn’t think he still had to do that! Why? He was at the<br />
top of his game, right? Perhaps so, but, I have come to realize<br />
that is one of the main reasons he continued to be at<br />
the top as “Ray Brown,” who was loved by the Jazz com-<br />
<br />
infectious sound. He also had a reputation to uphold that<br />
only he could tear down. I am convinced that he needed<br />
to satisfy himself, as he was being challenged and was expected<br />
to play well all the time.<br />
<strong>The</strong>re are many ingredients and elements melding<br />
together as one to produce a memorable quality sound.<br />
Tone, pitch, dynamics, harmonic sophistication, buoyant<br />
pulse, rhythmic dexterity, interesting creative bass lines,<br />
and engaging solos, constitute the totality of your sound.<br />
Can you practice each of these? Absolutely!<br />
Begin to love your sound. <strong>The</strong> sound quality you<br />
you don’t<br />
love your sound, why should I? <strong>The</strong> reality is that no one<br />
really cares if you practice or not, so why do we do it? We<br />
practice because it is incredibly gratifying and satisfying<br />
when we reach those goals that have been eluding us. Our<br />
challenge is to practice so we can sound and play as well as<br />
we did yesterday. Get that concept under control and this<br />
practicing process will grow leaps and bounds. <strong>The</strong> name<br />
of the game is to maintain those skills you’ve developed<br />
so they are ready when called upon at any given time! If<br />
you wish to become part of the lineage of any genre, you<br />
must convey to your audience that you have done your<br />
homework and you, most certainly, belong on that stage.<br />
Great musicians play with a memorable sound, excellent<br />
dexterity, great intonation, an incredible sense of time, a
controlled sense of dynamics and phrases, and, most importantly,<br />
savvy of the style.<br />
Is it really necessary to practice Jazz?<br />
As a creative jazz bassist, consider yourself an illusionist,<br />
someone who makes one feel and hear what’s not really<br />
there. <strong>The</strong> listener becomes so engaged by your performance,<br />
they feel a great pulse, but there is no drummer.<br />
<strong>The</strong>y hear wonderful clear harmony, but there is no piano,<br />
<br />
listening to your presentation without the feeling of missing<br />
something or someone. When you are successful achieving<br />
this, you will be remembered and sought after for the clarity<br />
and control you bring to any ensemble. <strong>The</strong> mindset I<br />
wish you to develop is:<br />
You are the only rhythmic and harmonic substance<br />
there is! You do not need a piano or drummer! We may<br />
want them to play with us, but you don’t need them for<br />
you to play well. If they are doing their job well, they do<br />
not need you either. We bassists have the unique ability to<br />
immediately sabotage every ensemble we play with if we<br />
lose our focus. Yes! Absolutely! In addition to the attributes<br />
of a great musician, the jazz musician must be capable of<br />
thinking quickly by functionally creating new melodic material<br />
to satisfy the sounds of any given structure or form<br />
<br />
make up structures of compositions. I call these structures<br />
“Musical Playgrounds.” Generally speaking, a playground<br />
is a place where all sorts of sports are played. Each sport<br />
-<br />
<br />
rules, fouling all the time, stepping on the lines, etc., we are<br />
asked not to play. Music making is no different. Learn the<br />
rules to be in control of what comes out of your instrument.<br />
It is not a mystery to become an improvising jazz musician.<br />
You just need to know the rules so you can navigate within<br />
the playground successfully. It is NOT rocket science!<br />
What are the ingredients that make up that chord sound<br />
enth”<br />
of a scale, that makes up a chord. <strong>The</strong>re are only<br />
-<br />
<br />
unto themselves. Learn and internalize each sound along<br />
with their respective scales. <strong>The</strong> rest of the sounds are slight<br />
<br />
key they are in, they all sound the same. <strong>The</strong> main difference<br />
from just reading music, is, the improvising jazz player<br />
decides how he/she will play by imagining what are the<br />
possibilities. YOU make all of the decisions of what notes<br />
to play, how many notes, what rhythms to use, what dynamics<br />
to use, etc. Thinking of how you want to sound before<br />
you play is crucial to your success! You must practice<br />
how to think, as well. Learn how to construct satisfying<br />
bass lines. Figure them out at the piano. Sing them in your<br />
head. Learn to play them on your bass by listening to how<br />
they sound. <strong>The</strong>se are the very same sounds that Bach,<br />
<br />
etc. used. <strong>The</strong> sounds that make up these structures are<br />
called Chord Progressions. <strong>The</strong> style and how these sounds<br />
are presented is what distinguish the different genres from<br />
one another. <strong>The</strong>re are many excellent books available<br />
niques<br />
to play a successful improvised solo in the jazz style.<br />
I’m a bassist.<br />
Why should I be friendly with the piano?<br />
I am NOT asking you to become a pianist, just learn the<br />
basics of where the notes are related to where they sound<br />
on your bass. I was not told how important the piano is<br />
when I began to play music, particularly when I began to<br />
play the bass. I had a good ear and learned quickly, but<br />
that eventually was not enough to really get inside the<br />
music that I loved so much. I had to learn how to identify<br />
the sounds I heard from the symbols I saw. Whatever kind<br />
of music you wish to play, you will be a better musician if<br />
you become very friendly with the piano. Guaranteed! <strong>The</strong><br />
piano is the “orchestra” of sounds. You can “see” what the<br />
chord looks like, as well as hear it. Learning the keyboard<br />
and studying harmony will answer all of the questions of<br />
what makes up a chord sound and its harmonic motion.<br />
This is where you can practice your melodies or the phrases<br />
of the music you are working on by very clearly singing<br />
along in tune. Learn the sounds of the basic chords and<br />
their related scales. This functional knowledge will carry<br />
over onto your instrument because you are hearing these<br />
sounds clearly in your head. Again, no one cares if you<br />
practice, or who your teacher was, or if you take lessons<br />
or not, or how long it took you to get it. What matters is<br />
once you get on the bandstand or stage, all they want is to<br />
hear the music clearly and swinging! When these elements<br />
of good practice are present, they will hear consistent, con-<br />
<br />
bass. What more can one ask?<br />
What to practice?<br />
LISTEN to the individual or individuals who inspire you on<br />
a daily basis. Listen to their choice of notes in the chord<br />
progression. Listen how they hook up with the drummer.<br />
Practice on the CONCEPT of the kind of music you are<br />
attempting to play. CONCENTRATE on all of the nuances<br />
you hear in their playing, i.e. their “time feeling,” their<br />
“choice of notes” in a walking bass line, the “pizzicato<br />
sound” being produced in the right hand. Try to incorporate<br />
and emulate by aurally transcribing everything you<br />
hear. <strong>The</strong> best way to transcribe is to sing and/or whis-<br />
(Continued on Page 12)
tle along with the recording. Eventually try playing along<br />
with the recording. To archive your transcription, write it<br />
<br />
soon be frustrating, in my opinion. You must begin to truly<br />
listen to the sounds coming out of your instrument. Play<br />
everything “slowly and distinctly” so you can hear every-<br />
<br />
that will develop CONSISTENCY in everything you do. If<br />
you are fortunate to have a teacher, practice your assignments.<br />
<strong>The</strong>re are tons of things to practice that tend to<br />
overwhelm us. It is so daunting, we keep putting all of it<br />
off until the next day and, quite often, that day, unfortunately,<br />
never comes. Isolate what is absolutely necessary<br />
and then do half of it, everyday. <strong>The</strong>se are good habits to<br />
form.<br />
When to Practice?<br />
<strong>The</strong>re are four types of practice options, physical,<br />
mental, vocal, visual. As your playing becomes<br />
more mature, practice times will vary, but the four<br />
options are always there for you. <strong>The</strong> most important<br />
time to physically practice is when you are the<br />
freshest, whenever you think that is for you. Generally<br />
speaking, it is when you wake up after a good<br />
night’s sleep or nap! :-)<br />
Can you practice without the instrument?<br />
Absolutely! <strong>The</strong> mental, vocal, and visual options are available<br />
to you anytime away from your instrument. In some<br />
respects, I feel these options will help you from wasting precious<br />
time. <strong>The</strong> visual option will help you overcome the<br />
challenges you may have counting rhythms. When learning<br />
a new song, learn the melody. <strong>The</strong>n learn the “BIG”<br />
letters of the chord symbol. First, without your instrument,<br />
take a blank manuscript paper. Mark out the appropriate<br />
number of measures with the correct chord symbol<br />
over the top of the staff lines. With a pencil and an eraser,<br />
<br />
notes that represent the sound the chord symbols require<br />
for the song. Use the notes from the chord and/or the notes<br />
<br />
the entire form, play what you have written on your bass.<br />
<br />
<br />
time you will have to contemplate what you have written<br />
and make edits to your satisfaction on the content of your<br />
line. In a real playing situation, you CANNOT STOP and<br />
go back to change something you didn’t like while playing.<br />
Third, continue this process until you are completely<br />
<br />
without stopping. Concentrate on a good time feeling and<br />
good intonation. Generally speaking, reading rhythms in<br />
a designated tempo is more challenging than reading the<br />
notes for many young and inexperienced players. <strong>The</strong>se<br />
two components must be played simultaneously in the<br />
correct tempo to make the phrase musically acceptable.<br />
<br />
comfortable tempo using a metronome. SLOWLY tap on<br />
<br />
able to tap it correctly in the desired tempo. <strong>Next</strong>, SING<br />
the notes. Yes, I said SING! When I am learning or working<br />
on a new melody or phrase, I sing it in my car while driving.<br />
I sing some of the best solos ever in my car. :-) You can<br />
too, if you try! Sing the phrase or passage IN TUNE with<br />
the correct rhythm in the manner you would like to play<br />
it. If you cannot sing it in tune, you will probably not play<br />
it in tune either. Using the piano, sing along as you play<br />
<strong>The</strong> reality is that no one really cares if you<br />
practice or not, so why do we do it? We<br />
practice because it is incredibly gratifying<br />
and satisfying when we reach those goals<br />
that have been eluding us.<br />
the notes. If you get into the habit of using these mental,<br />
vocal, and visual exercises, you will see a marked improvement<br />
in your playing, believe me. I didn’t believe it either<br />
when I heard double bass virtuoso, Gary Karr speak about<br />
this process in one of his workshops. I was amazed how it<br />
helped me get into the piece much more quickly than I<br />
expected and with more clarity, as well. It will get easier as<br />
you incorporate these habits into your daily life.<br />
How much practice?<br />
After you have a few years under your belt of real playing<br />
situations, to what degree you practice will vary considerably.<br />
It will depend on the demands made upon you<br />
on a daily basis personally and professionally. Remember,<br />
one must keep up with a daily maintenance routine with<br />
scales, challenging etudes, and/or snippets of a composition<br />
you just love to play. Be honest with yourself and stick to<br />
that “real” time frame allocated to practice. Time is a precious<br />
commodity. <strong>The</strong> organization of your daily practice<br />
habit will train you not to waste time and become more<br />
consistent. This consistency and focus you acquire will roll<br />
over into any and all other music you practice and play.<br />
It will not be a one-time experience. Only you can decide<br />
<br />
playing with a more focused attitude for longer periods of<br />
time with excellent results.<br />
That being said, it is my opinion, after two hours of<br />
physical practice, one should rest the body. If something
you that you are doing something incorrectly. I was told a<br />
very long ago to practice in front of a full-length mirror, as<br />
it will become the best teacher you will ever have. I have<br />
found this to be very true. To this day, I use the mirror constantly<br />
monitoring my overall posture, left and right hand<br />
positions while playing. This is a great habit to acquire.<br />
How long to practice daily?<br />
We all wish we could practice all day long, but in reality,<br />
that isn’t going to happen for most of us! It cannot be<br />
said enough. Time is a precious commodity. When we are<br />
young, we think we will have more time later. WRONG!<br />
If you are still in school, you think you have no time to do<br />
what you want. Believe me, it never gets better when you<br />
get older. So, be honest with yourself and search out that<br />
“real” time slot you can actually do without fail everyday.<br />
<br />
Make a weekly calendar of events you wish or need to<br />
accomplish. If you can actually practice focused material<br />
<br />
improvement.<br />
-<br />
<br />
Five minutes doesn’t sound like much, but it is a very long<br />
time only focusing on one single thing! Before you realize it,<br />
over a short period of practicing in smaller chunks of time,<br />
you will have developed a more focused stamina and will<br />
be capable of focusing for longer periods of time. Once you<br />
<br />
<br />
consecutively before moving on to the next musical item<br />
you wish to learn. This process will help you develop the<br />
high level of playing that you expect from yourself. How<br />
you think of yourself will greatly affect how others think of<br />
<br />
and how, before picking up your bass to play a single note.<br />
Will it be a scale, an arpeggio, and a blues bass line? Which<br />
one? How many octaves? What is the tempo? What dy-<br />
<br />
and what string to begin playing. If using the bow, where<br />
are you placing it on the string? If pizzicato, will it be one<br />
<br />
up your bass and begin playing. Try not to stop the process<br />
until you have completed your assignment. If you do<br />
<br />
and continue from that point. This type of preparation is<br />
important to develop, in my opinion.<br />
1st time:<br />
<br />
<br />
sound, accuracy, and desired tempo?<br />
2nd time:<br />
<br />
Pizzicato string crossings, etc.<br />
3rd time:<br />
Concentrate on playing the passage softly throughout!<br />
4th time:<br />
Concentrate on using varying dynamics and vibrato.<br />
5th time:<br />
Concentrate on the musicality of the sound being produced<br />
and on how beautiful you sound making it!<br />
A mature musician is one who has taken the time to study<br />
the tradition of any musical idiom before he/she can truly<br />
conceptualize that music.<br />
<br />
learning something new. Enjoy the discovery.<br />
Rufus Reid’s major professional<br />
career began in Chicago and<br />
continues since 1976 in New<br />
York City. He has toured and recorded<br />
with Eddie Harris, Nancy<br />
Wilson, Harold Land & Bobby<br />
Hutcherson, Lee Konitz, and<br />
countless others. He continues to<br />
enjoy associations with Tim Hagans,<br />
Bob Mintzer, Frank Wess,<br />
Marvin Stamm, Benny Golson.<br />
Rufus Reid is equally<br />
known as an exceptional educator.<br />
Dr. Martin Krivin and Reid<br />
created the Jazz Studies & Performance Program at William<br />
Paterson University. Reid retired aer 20 years, but continues<br />
to teach, conducting Master Classes, workshops, and residencies<br />
around the world.<br />
<strong>Next</strong> <strong>Level</strong><br />
assist • 13
ALWAYS ASSUME THAT YOU ARE THE ONLY HARMONIC AND RHYTHM SUBSTANCE.<br />
14 •<strong>Next</strong> <strong>Level</strong><br />
assist<br />
<strong>The</strong> Jazz <strong>Bassist</strong>’s Mindset<br />
Develop a CONCEPT! CONCENTRATE on that concept.<br />
Your CONFIDENCE will you develop CONSISTENCY!<br />
• CONSISTENCY OF<br />
TONE PRODUCTION<br />
• A GREAT PULSE<br />
(Time Feeling)<br />
• INTONATION<br />
• HARMONICE AWARENESS<br />
• REPERTOIRE<br />
• SENSE OF<br />
PHRASE AND DYNAMICS<br />
• • ASSESSMENT<br />
ASSESMENT OF YOUR<br />
MUSICAL SETTING<br />
via Rufus Reid<br />
75% OF YOUR CONCENTRATION<br />
IS “NOT” ON YOU!!<br />
THIS WILL DEVELOP YOUR<br />
“PERIPHERAL HEARING”<br />
YOU<br />
CHORDAL<br />
INSTRUMENTS<br />
PIANO<br />
GUITAR<br />
VIBRAPHONE<br />
SYNTHS<br />
ANY<br />
PERCUSSION<br />
INSTRUMENTS<br />
FRONT LINE<br />
ANY HORN<br />
COMBINATION<br />
A MATURE MUSICIAN IS ONE THAT HAS TAKEN THE TIME TO STUDY THE TRADITION OF<br />
ANY MUSICAL IDIOM BEFORE HE/SHE CAN TRULY CONCEPTUALIZE THAT MUSIC!
Transition works on a range in the bass that is extremely useful and should be<br />
incredibly comfortable to play in. If you can master the 1-octave harmonics and the<br />
way you get around them from above and below, this should have a positive eect<br />
on a huge amount of solo literature for the bass. This applies to Bach, concertos and<br />
a host of other pieces both original and transcribed.<br />
Double stops are challenging on the bass, because you need to figure out how how<br />
to distribute bow weight between two strings, as well as finger/arm weight, and you<br />
must manage tension levels very carefully. Harmonics are a good introduction to<br />
this, followed by using one harmonic and one stopped note.<br />
Working on Transition, if you have not done so already, will enable you to become a<br />
much more versatile bass player and add comfort to your thumb position skill set.<br />
- Ranaan Meyer<br />
<strong>Next</strong> <strong>Level</strong><br />
assist • 15
16 •<strong>Next</strong> <strong>Level</strong><br />
assist
<strong>Next</strong> <strong>Level</strong><br />
assist • 17
Stronger is something that will give you a fundamental of rhythm that is extremely important.<br />
<strong>The</strong> notes start out sporadic and move towards a flow. Get out your metronome and<br />
keep on track, because it will feel like dierent tempi throughout this piece. That’s the thing<br />
I notice about running notes into slower notes. Going from half to quarter to eighth to sixteenth,<br />
you will find yourself adjusting to the metronome based on your perspective of where<br />
the beat is. When you play with people, you will find a dierent set of skills necessary. I know<br />
in playing with Time for Three that we are always pushing ahead, leaning on the front end of<br />
the beat. <strong>The</strong> metronome is a fundamental, but it isn’t something my group can depend on.<br />
Pay close attention to your tendencies, too - learn whether you tend to speed up or slow down<br />
and decide whether the music is calling for that (certain settings don’t let you do it at all, such<br />
as orchestra playing or auditions).<br />
Finally, I’m introducing a technique that I find revolutionary - moving from a note to a slap<br />
in the space of one sixteenth note, as in measure 6. It will probably feel unusual, maybe a bit<br />
diicult at first. Most slaps in bass playing occur on the eighth note, and it is totally common<br />
to need some time to acclimate to this technique. Once you have it though, you will find it is<br />
extremely helpful, not to mention a lot of fun!<br />
FACULTY<br />
Terell Stafford, Chair,<br />
Instrumental Studies Department<br />
Eduard Schmieder,<br />
L. H. Carnell Professor of Violin,<br />
Artistic Director for Strings<br />
Luis Biava*, Music Director,<br />
Symphony Orchestra<br />
Double Bass<br />
Joseph Conyers*<br />
John Hood*<br />
Robert Kesselman*<br />
Anne Peterson<br />
*Current member of<br />
<strong>The</strong> Philadelphia Orchestra<br />
For more information, please contact:<br />
215-204-6810 or music@temple.edu<br />
www.temple.edu/boyer<br />
18 •<strong>Next</strong> <strong>Level</strong><br />
assist<br />
PROGRAMS<br />
B.M.: Performance<br />
B.M.: Composition<br />
B.M.: Music Education<br />
B.M.: Music History<br />
B.M.: Music <strong>The</strong>ory<br />
B.M.: Music <strong>The</strong>rapy<br />
M.M.: Performance<br />
M.M.: Composition<br />
M.M.: Music Education<br />
M.M.: Music History<br />
M.M.: Music <strong>The</strong>ory<br />
M.M.: String Pedagogy<br />
M.M.T.: Music <strong>The</strong>rapy<br />
D.M.A.: Performance<br />
Ph.D.: Music Education<br />
Ph.D.: Music <strong>The</strong>rapy<br />
Professional Studies Certificate<br />
ENSEMBLE OPPORTUNITIES<br />
> Temple University Symphony Orchestra<br />
> Opera Orchestra<br />
> Sinfonia Chamber Orchestra<br />
> Contemporary Music Ensemble<br />
> Early Music Ensemble<br />
> String Chamber Ensembles<br />
Philadelphia, PA<br />
- Ranaan Meyer
S = Slap<br />
H = Hammer On<br />
P = Pull Off<br />
x = muted Note<br />
B = "Bass Bump" Use fist to make a bass drum sound on the body of the bass<br />
x & note stem = slap and play pitch simultaneously<br />
Double Bass<br />
6<br />
9<br />
?#<br />
?#<br />
12<br />
?#<br />
15<br />
?#<br />
18<br />
?#<br />
22<br />
?#<br />
H<br />
?# 4<br />
œ œ ¿ œ<br />
Bass Part Secrets from TF3's Stronger<br />
S<br />
pizz.<br />
∑<br />
¿ j ‰ Œ<br />
H<br />
B B B S mute H<br />
¿ ¿ œ œ S<br />
‰ j ‰ Œ ‰<br />
¿<br />
S S<br />
G D G D G D<br />
G D G D<br />
Copyright © 2013<br />
H<br />
S S<br />
H S S H S S H S S<br />
œ œ ¿ œ<br />
H S S 0 H<br />
œ œ<br />
¿ œ<br />
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S S 0 H<br />
slap & pitch sim.<br />
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œ ‰ œ J ¿<br />
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¿<br />
Ranaan Meyer<br />
S S 0 H<br />
S<br />
œ œ œ œ œ<br />
¿ œ<br />
¿<br />
<strong>Next</strong> <strong>Level</strong><br />
P<br />
¿ ¿<br />
œ<br />
‰ œ<br />
¿ ¿<br />
J r ≈<br />
¿<br />
œ ‰ œ J ¿<br />
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¿ ¿<br />
œ œ œ<br />
œ œ œ œ œ œ œ<br />
œ œ¿ œ<br />
¿ œ œ œ œ<br />
¿œ œ ¿ ¿ œ œ # œ œ<br />
¿œ œ ¿ ¿ œ œ nœ œ<br />
¿œ œ ¿ ¿ œ œ<br />
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œ œ œ ¿ ¿ œ œ œ œ<br />
¿œ œ ¿ ¿ œ œ # œ œ<br />
¿œ œ ¿ œ œ œ œ nœ œ<br />
¿œ œ ¿ ¿ œ œ<br />
¿œ<br />
assist • 19
20 •<strong>Next</strong> <strong>Level</strong><br />
assist<br />
MAKE<br />
practice<br />
Perfect<br />
By<br />
David<br />
Allen<br />
Moore
Practice<br />
is universally recognized as<br />
a musician’s primary tool<br />
-<br />
<br />
and hallowed performing venues (see How to get<br />
to Carnegie Hall-<br />
<br />
converse in braggadocios tones about how many<br />
hours they’ve practiced rather than what was ac-<br />
<br />
I hope to share with you a few of the fundamen-<br />
<br />
<br />
practice techniques. Practice is a time to master<br />
<br />
<br />
of practicing itself such that we can be said to be<br />
-<br />
<br />
analysis. In other words: <strong>Practicing</strong> the Practice of<br />
Practice Practice.<br />
Time Management<br />
Before one can even begin to address the content<br />
<br />
conditions that can ensure that the session itself will<br />
-<br />
<br />
on their time. <strong>The</strong> total<br />
time available in any<br />
given day could be visualized<br />
as an empty jar<br />
that we then begin to<br />
<br />
<br />
-<br />
<br />
<br />
<br />
<br />
ter<br />
that you pour into the jar once all other space is<br />
<br />
viewed with the same commitment and dedication<br />
ence<br />
is that the practice schedule is self-imposed<br />
and self-motivated.<br />
Practice time needs to be scheduled into a<br />
erence<br />
as demands placed on you by the outside<br />
-<br />
<br />
<br />
there is the question of how to organize the time<br />
<br />
<br />
about 50 minutes of practice to 10 minutes of rest.<br />
<br />
of the time into three sections: technique (scales/<br />
<br />
solo repertoire. Each section would be roughly the<br />
same duration (for the arithmetically-challenged: in<br />
<br />
minutes rest for each section yielding a total of 2.5<br />
hours practice and 30 minutes of rest.) Proportions<br />
<br />
circumstances (i.e. more time on orchestral reper-<br />
<br />
time to solo rep in preparation for a recital.) Endur-<br />
<br />
-<br />
<br />
<br />
Goal Setting<br />
-<br />
<br />
<br />
-<br />
<br />
-<br />
<br />
what will be prac-<br />
<br />
-<br />
<br />
<br />
<br />
ticed in advance<br />
of the actual practice<br />
session. This<br />
can be as little as a<br />
<br />
-<br />
<br />
<br />
-<br />
<br />
<br />
will require the purchase of an additional piece of<br />
equipment that may not currently be part of your<br />
<br />
<br />
<br />
will provide an invaluable resource for future plan-<br />
<br />
-<br />
<br />
<br />
<br />
-<br />
<br />
setting is to always set yourself up to succeed. <strong>The</strong><br />
(Continued on Page 22)
simplest and most direct way to accomplish this is<br />
<br />
-<br />
<br />
-<br />
<br />
your talents would be much more effectively and<br />
<br />
two-word phrase can be applied to the beginning<br />
of any practice session goal to ensure success ev-<br />
-<br />
<br />
-<br />
<br />
are things that can surely be accomplished as they<br />
don’t presuppose the amount of progress to be<br />
made (if any). <strong>The</strong> most challenging times during<br />
parent<br />
stasis. I am comforted during these times by<br />
<br />
est<br />
position that they can currently achieve and<br />
<br />
a platform of support. <strong>The</strong>y are to repeat this pro-<br />
ing<br />
that they will have torn off one page of the top<br />
-<br />
<br />
<br />
with a feeling of accomplishment and momentum<br />
that you can build on rather than feeling that the<br />
<br />
to the bottom of the hill.<br />
C.R.A.F.T. Cycle vs. Vomit Cycle<br />
<br />
<br />
how to go about achieving those goals. Too often<br />
students practice in a manner that I affectionately<br />
<br />
-<br />
<br />
<br />
This glorious procedure is then followed by the implementation<br />
of the ever-popular practice tech-<br />
<br />
-<br />
<br />
Cing<br />
for/paying attention to before you start play-<br />
<br />
<br />
<br />
22 •N L assist<br />
ext evel<br />
<br />
the sheer volume of information coming at you.<br />
R<br />
Analysis: Compare your conception and your re-<br />
<br />
<br />
Fine T<br />
ly<br />
highlight where you need additional input (i.e. assist<br />
in the formulation of questions for your teacher at<br />
<br />
developed concept and are aware of what needs<br />
<br />
<br />
<br />
<br />
<br />
<br />
Semantics<br />
<br />
but we rarely give much thought to the words and<br />
<br />
the practice room. I feel very fortunate to have<br />
<br />
-<br />
<br />
<br />
-<br />
<br />
we set up for ourselves when dealing with material<br />
<br />
would propose we add to the list of words to avoid is<br />
<br />
<br />
<br />
<br />
<br />
<br />
passage or instrumental technique. I suggest that<br />
we rephrase this in a positive and aspirational light:<br />
<br />
dialogue that we have with ourselves during prac-<br />
<br />
ternally<br />
that I wouldn’t say out loud to someone else<br />
during a master class.
Dynamic Forms<br />
<br />
-<br />
<br />
in order to solve a variety of technical challenges<br />
(not<br />
-<br />
<br />
terns<br />
to achieve desired results. Dance and martial<br />
<br />
<br />
<br />
routines. <strong>The</strong> root of many technical issues involves<br />
<br />
<br />
ing<br />
a large shift. <strong>The</strong> customary procedure involves<br />
<br />
determined solely by whether or not the target pitch<br />
-<br />
tinued<br />
repetition we will intuitively increase our percentage<br />
of success until it reaches a reliable state.<br />
Redefining Relevant<br />
Strings Faculty<br />
Division of Classical Performance Studies<br />
Violin: <br />
<br />
<br />
Viola: <br />
Cello: <br />
Bass: <br />
Harp: <br />
Explore why we are unique among the finest music schools in the world.<br />
usc.edu/music | facebook.com/uscthornton<br />
<br />
of much frustration in the practice room.<br />
-<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
etc.)<br />
• <strong>The</strong> note sounds in tune.<br />
<br />
<br />
<br />
<br />
<br />
-<br />
<br />
-<br />
<br />
-<br />
<br />
<br />
<br />
(Conclusion on Page 25)<br />
Our students define success;<br />
our priority is to get them there.<br />
With a continuing legacy of renowned faculty-artists,<br />
we have a keen eye towards the future and understand<br />
the new paradigms of a career in classical music.<br />
<br />
<br />
<br />
<br />
All this within Los Angeles, the music capital of the<br />
21st century.
A<br />
24 •<strong>Next</strong> <strong>Level</strong><br />
assist<br />
NEW FEATURE<br />
Review assist<br />
ext evel<br />
N L<br />
<strong>The</strong> DPA d:vote 4099B microphone could pretty much<br />
be called my new best friend! Now that’s not to put<br />
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for Three, but that’s mainly because our whole group<br />
uses and loves microphones by DPA. I want to lay<br />
out some of the reasons why this mic is making a<br />
huge difference in my touring life.<br />
One of the bigger challenges of playing live in big<br />
rooms is getting something that resembles your un-<br />
<br />
pickups and more than a few mics before, but the<br />
<br />
an authentic bass sound. Considering my style, it’s<br />
incredible that I’m able to get the best arco and pizz<br />
sound from this one device out of anything I’ve ever<br />
used. I don’t just play on the strings, and I’m happy<br />
to say the mic captures the percussion of hitting,<br />
smacking, or slapping the bass just as well as traditional<br />
playing.<br />
From a traveling musician’s standpoint, the 4099B is<br />
really convenient too. I like the carrying case for its<br />
small size and very safe construction. It currently<br />
slots into a larger case with my other sound gear,<br />
but you can take it with the rest of your rig and not<br />
worry about losing your investment. It’s easy to plug<br />
<br />
in high pressure situations. I have gotten great feedback<br />
from the sound guys and gals I work with too<br />
<br />
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If you are serious about your live sound, the d:vote<br />
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<br />
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contact need to move due to the change in regis-<br />
<br />
<br />
<br />
<br />
<br />
<br />
your body aware of the starting and ending posi-<br />
<br />
the issue by also trying to transition between them<br />
<br />
step would be to repeat this sequence and actually<br />
<br />
<br />
between notes to fully visualize the new position in<br />
and form.)<br />
curred<br />
when moving from one position to the other<br />
– even if the notes sound in tune (remember: we<br />
-<br />
<br />
<br />
Final Thoughts<br />
-<br />
-<br />
<br />
<br />
<br />
times<br />
they need to be abandoned altogether in<br />
favor of banging your head repeatedly against an<br />
-<br />
<br />
GO<br />
PRACTICE<br />
David Allen Moore is 4th chair double<br />
bass of the Los Angeles Philharmonic<br />
while also serving as a professor<br />
at the USC Thornton School<br />
of Music, the school from which<br />
he graduated in 1993. Moore was<br />
also a member of the Houston<br />
Symphony from 1993-1999. He regularly<br />
performs with San Diego’s<br />
Mainly Mozart Festival and the Los<br />
Angeles Philharmonic’s New Music<br />
Group. He has presented master<br />
classes at Curtis, Juilliard, Rice,<br />
and NEC. His former students are<br />
present in professional orchestras<br />
in the United States, Canada, Australia, and Europe. Moore<br />
is also a faculty member at Domaine Forget, the summer<br />
music festival in Québec, Canada.<br />
<strong>Next</strong> <strong>Level</strong><br />
assist • 25