Next Level Bassist Left Hand

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
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