Next Level Bassist Left Hand

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Contents Summer 2014 Feature Story 5 A Balanced Approach jordan anderson 9 Spotlight: Cleveland Orchestra Bass Section 10 Up and Comer tim dilenschneider 13 Exercise Piece nicholas walker 18 Up and Comer jordan morton 21 Finding Your Own Path Paul Kowert 26 Interview with Nicholas Walker Contributors Ranaan Meyer PUBLISHER / FOUNDER Brent Edmondson editor Edward Paulsen SALES Karen Han Layout designer 2 NOV/DEC SUMMER 2013 2014 NEXT LEVEL BASSIST
Publisher’s Note It is no secret in the bass community that there have been a lot of innovations in left hand technique. It seems that in the past decade, the double bass has shed the stereotypes of being the clumsy and slow moving grandfather of the string section, and stepped into the spotlight. Developments in string technology, bass setup approaches, and the expanded use of thumb position all over the bass have allowed us to explore new possibilities in all styles and genres. Among the most innovative bass players in the 20 th century, few have shaped so many minds as Francois Rabbath and Edgar Meyer. In Nicholas Walker’s expansive article, he seeks to incorporate the highly structured teachings of Rabbath and the still-mysterious but infinitely intriguing thumb position concepts that Edgar Meyer has been teaching to a select few in recent years. Given that there are only a few places to find this information, I think this article and the additional materials on our website might be one of the most important resources for double bass in the last 100 years. As a student at the Curtis Institute of Music, I consider myself very fortunate that Jordan Anderson was one of my colleagues and an incredible influence. His chocolate-like tone, his incredible consistency, and great attitude towards working hard encouraged me to play my personal best. In addition to his principal position with the Seattle Symphony, he has an incredible track record as a teacher - sending student after student on to study at the Curtis Institute of Music and other conservatories and the music of the future. His perspective on practicing and technique is a must-read for aspiring conservatory students, orchestra professionals, or anyone looking to create music at the highest levels. Paul Kowert has enjoyed a rare and singular career to date as the bassist for the Punch Brothers, and part of the trio Haas Kowert Tice. His in-depth exploration of Edgar Meyer’s technique as well as his incredibly brave decision to embrace a career in bluegrass and folk music are an inspiration to anyone who has ever felt the pull of a non-classical career within a conservatory setting. His open-eyed and inclusive approach to practicing should be experienced by every classical player. We are also extremely pleased to feature the incredible bass section of the Cleveland Orchestra, one of the most venerated orchestras in the world. The glory of playing with a group of that caliber is evident in the comments submitted by the wonderful section members. Finally, we are instituting a new “Up and Coming” column, featuring the talented and hard working Tim Dilenschneider. Tim recently graduated from the Curtis Institute of Music, was accepted to the New World Symphony, and is an A-list substitute for the Philadelphia Orchestra. Tim was a student of mine in high school, and has been a participant in two years of Wabass Institute and Wabass Intensive. I hope that in reading this issue of Next Level Bassist, you will be filled with inspiration to experiment and innovate. We are in the dawn of a new era of discovery, and every single one of us can take part. This journal is all about open minded sharing of knowledge, and I would like each and every one of you to share your thoughts as we all head to the Next Level. Ranaan Meyer Publisher Next Level Journals SUMMER 2014 NEXT LEVEL BASSIST 3
Page 1: | Left hand | Up and Comer Tim Dile
Page 5 and 6: Jordan Anderson A Balanced Approach
Page 7 and 8: eventual performance. I try to imag
Page 9 and 10: Spotlight cleveland Orchestra Bass
Page 11 and 12: Describe your background My teacher
Page 13 and 14: Exercises in Shifting Hand-Settings
Page 15 and 16: 2 Tonic Harmony: minor seven/major
Page 17 and 18: 4 Ex. A Rabbath's Crab Approach xxx
Page 19 and 20: Jordan Morton I try to come from a
Page 21 and 22: Finding your own path SUMMER 2014 N
Page 23 and 24: anything if I wanted to play the ba
Page 25 and 26: There was a period of time when I w
Page 27 and 28: isolation - at least I did, for man
Page 29 and 30: days a week I do my practice on a s
Page 31 and 32: use of the palette sonore, he has a
Page 33: www.RobertsonViolins.com Tel 800-28

Next Level Bassist Left Hand

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