BASS WORLD The Magazine of the International Society of Bassists
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Number Three 2012
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CONTENTS
Departments: President’s President’ s Corner . . . . . . . . . . . . . . . . 2 From the Editor’ Editor’s s Desk . . . . . . . . . . . . 4 Child’s Child’ s Play . . . . . . . . . . . . . . . . . . . . . 7 My Turn . . . . . . . . . . . . . . . . . . . . . . . . 9 Body & Bass Bass . . . . . . . . . . . . . . . . . . . 37 Luthier’s Luthier’ s Corner . . . . . . . . . . . . . . . . . 41 Bass Clubs . . . . . . . . . . . . . . . . . . . . . 45 Hot Shots. . . . . . . . . . . . . . . . . . . . . . 47 The Latest Score . . . . . . . . . . . . . . . . 48 Sounding Soundi ng Board . . . . . . . . . . . . . . . . . 52 Young Bassist Page Page . . . . . . . . . . . . . . 56
Features: William “Keter” Betts: Everybody’s Hand Man . . . . . . . . . . . . . . . . . . . . 13 in Search of Nino Rota and his Divertimento for Double Bass of 1973 . . . . . . . . . . . . . . . . . . . . . . 19 Johann Matthias Sperger (1750-1812) Sonatas for Contrabass and Piano Adaptation and Publication Klaus Trumpf. . . . . . . . . . . . . . . . . . 25 Velkom elkommen men til København! København! . . . . . . . . 51
ABOUT THE ARTIST Rita Orsini was born in France to a family now spread across the world, from Italy to Spain, France to the United States, and England to Australia. After completing her academic studies in France and travelling in Europe and Asia, Rita finally settled in Australia, where she works as a French lecturer at Sydney University. She works in watercolor and acrylic painting, sculpture and silver jewelry. In 2005 she studied ink painting in Aix-en-Provence, France to further her experience with its smooth fluidity and bright transparency. Her painting featured on the cover of this issue of
Bass World ,
“Music to
my Ear,” is from this period. Rita exhibits her work in Sydney and in France. Her first solo exhibition, “Invitation au Voyage," retraced a journey across land and sea and reflected on the riches collected along the way. Travelling has been part of her life from an early age, to reconnect with family or uncover new destinations and experiences. At home, double basses are a part of o f everyday life, as husband hus band Matthew Tucker is a double bass maker and repairer (Bresque Basses in Sydney) and daughter Olivia is a bass player and teacher. Both daughters, Olivia and Margot have inherited artistic genes and have started exhibiting their own works. View more of Rita’s works at http://ritaorsini.studio205.net.au.
Volume 35, Number 3
1
PRESIDENT’S CORNER
By John Kennedy Hello, colleagues, friends, and fellow lovers of the bass! This is an exciting time to be a bassist and to be part of the ISB. I am thrilled and humbled to watch the explosion of talent, visibility, and excitement in so many genres of bass playing, the melding of those genres and the blurring of lines separating players – we are truly seeing the world becoming filled with bassists without labels, not just this or that kind of bassist. I see that explosion in my own teaching. My students are regularly choosing to explore with depth and commitment multiple styles of playing (often needing to draw on the resources of more than just one of us “oldschool” bassists who are not as broadly trained as they will be). At the same time, they are developing at what seem unimaginably fast rates – I often find my students playing repertoire at a young age that I and my colleagues of a certain age typically learned in or beyond college. We are truly fortunate to be living in a “golden age” of bass playing! This is a golden age for the ISB itself. As we approach our golden anniversary of the founding of the ISB by Gary Karr in 1967, the ISB is experiencing changes that allow us to look both back and forward with greater depth and understanding. With the George Vance Online Resource Library, available to members at our website www.isbworldoffice.com, you can now learn from 45 years of collected wisdom, insight, history, and personality of the ISB journal in all its forms through the years. Every issue of B1CC -?<4 , including this one, provides a window into our history as bassists, into the lives of those who paved the way for us, and into the world of bass as it is becoming today. At our recent ISB board of directors meeting in January, the amazing collection of talent, drive, and wisdom that is the board continued to pave the path the ISB will be taking to both reflect and lead this new golden age. As we each shared why we are driven to donate our time and talents to the ISB, the themes of connection and collegiality wove themselves through all our stories. The relationships and understanding that we’ve gained over years of conventions, our excitement when we each learned that we were not alone in our “bass love,” and the sense of community that we feel throughout the bass world were common to us all. Our work throughout the weekend returned again and again to this theme, focusing on how we can bring this sense of belonging and connection to all our members, and offer it to the wider community of bassists who have not yet found the ISB! In this increasingly technological age, we identified three basic beliefs that we all shared. One, that our currently most visible tools of connection, B1CC -?<4 and our biennial conventions, are in good hands and are providing powerful ways to educate, inform and excite each other as bassists. B1CC -?<4 continues to be the finest magazine by and for the double bassist, and our 2013 Convention at the Eastman School of Music is already being shaped by president-elect Kristin Korb and the site team of Jeff Campbell and James VanDemark into an awesome week! Two, that both of these wonderful manifestations of the ISB can reach a wider audience through active and inventive use of the digital world to advertise what we do and enhance what we offer. Look for enhancements and expansion of future B1CC -?<4 articles and features on the web, and also for updates and previews of the convention there, too! Three, that our web presence is already a powerful tool for bassists to learn about our history, access the artistry and music of our awesome membership though the online store, and keep up with important happenings through our newsletter of events. We believe it is also ripe for the addition of many of the digital innovations that are now available, and that www.isbworldoffice.com can and should join the magazine and the conventions as a primary tool for the ISB to reach out to our members and the wider bass c ommunity. Our mission is to inform and build connections between bassists the world over, and I am excited to let you know that over the coming year, our website will be growing and changing to become a destination for bassists and a true home page of “bass love!”
The International Society of Bassists publishes Bass World three times a year. Please address all correspondence, membership information and advertising inquiries and materials to: ISB, 14070 Proton, Suite 100 LB 9, Dallas, TX 75244, USA, 972/233-9107 ext. 204, fax 972/490-4219,
[email protected], www.ISBworldoffice.com. The ISB is dedicated to stimulating public interest, improving performance standards, and to providing an organization for those specializing in the teaching, learning, performing, repairing, making, researching, and enjoyment of the double bass. The ISB limits its advertising to products and services that promote these purposes. Domestic membership rates in U.S. dollars: one year, $60; two years, $110; three years, $160; senior age 65 plus (one year), $45; full time student (one year), $30; life membership $750. International membership rates in U.S. funds: one year, $65; two years, $120; three years, $175; senior age 65 plus (one year), $50; full time student (one year), $35. Founder: Gary Karr. A0955?@>-@5;: John Kennedy, President; Kristin Korb, President-Elect; Rob Nairn, Past President; David Murray, Secretary; Marcel Villaflor, Treasurer; Madeleine Crouch, General Manager; Jeremy Baguyos, Editor; Associate Editor, Connie Martin; D1<->@91@ E05@;>?: Jeff Campbell, All That Jazz; Jennifer Sharp, Bass Clubs; Linda Gilbert, Body & Bass; Steven Reiley, Centerfold; Virginia Dixon, Child’s Play; Colin Corner, Different Strokes; Jeffrey Turner, Hot Shots; David Gage, Luthier’s Corner; Nick Scales, Orchestra Roll Call; Robert Black, Latest Score; Chris Kosky and Rob Nairn, Sounding Board; James Lambert, Rumblings; Inez Wyrick, Young Bassists Page.
Board of Directors: Thierry Barbe Jeff Campbell Zi-ping Chen Mark Dresser David Gage Peter Gallagher Bruce Gertz Scott Haigh Jason Heath John Kennedy Tom Knific Kristin Korb Jeremy Kurtz-Harris Alan Lewine Douglas Mapp Kurt Muroki David Murray Rob Nairn John Schimek Lynn Seaton Hans Sturm Marcel Villaflor David Young Adjunct to the Directors: Madeleine Crouch, General Manager Jeremy Baguyos, Editor Connie Martin, Associate Editor Diana Gannett, ISB Competition Chair Robert Black, Composition Competition Chair Dustin Williams, Makers’ Competition Chair A0B1>@5?53 %;85/: All ads should be sent cameraready. Size of ad and issues in which it should appear should be specified. First-time advertisers must pay in full for ads in advance. All advertisers receive a complimentary issue in which their ad appears.
Copyright 2011 International Society of Bassists 2
International Society of Bassists
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Volume 35, Number 3
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FROM THE EDITOR’S DESK
Joining The Professoriate It is also important to understand the different types of faculty employment opportunities in academe. For purposes of career training and the job search, there are three types of employment: full-time tenure track (after successful completion of a probationary period usually lasting six years, a faculty member is a “permanent” or “continuous” appointment), full-time 8 non-tenure track (sometimes referred to as 0 0 “limited term” or “renewable” appointments), 2 , D and part-time non-tenure track (sometimes 9 B 5 referred to as “adjunct” faculty). # The job market is becoming so competi 5 > tive in some geographical areas that resumes > 5 9 B received for advertised adjunct faculty vacan 4 A cies are becoming just as impressive and just I as numerous as resumes received for tenure ? D track positions. No matter what type of job ? vacancy may be announced, assume that the & 55=I B17I? 9> D85 (539D1< H1<< ?6 D85 )D1 competition will be very high. What is more important to understand is &56?=9>7 AD C5>D5, +>9F59DI ?6 $521;1 1D %=181 that each type of job has a certain set of expectations and level of involvement within and By Jeremy C. Baguyos outside of the university. For full-time tenure track As someone who made the mid-career cutover positions, a double bass professor will be expected to from orchestral musician to music academic, I am participate fully in all the various workings of the often asked how one goes about becoming a college music school ranging from administrative support professor in the music discipline. Like many quesduties (like producing a concert and committee work) tions about pursuing a career in music, there is never to performing chamber music with other faculty AND a simple answer. I wish it were as simple as going to (with the exception of community college positions) a graduate school, earning an advanced degree, applytenure track bass professor will be expected to be ing for listed jobs (in the Chronicle of Higher active as a performer outside of their home institution, Education http://chronicle.com/section/Jobs/61/, which is central to his or her ability to win tenure. www.higheredjobs.com, or the College Music For a full-time non-tenure track position, the focus Society’s Music Vacancy List http://music.org/cgiis on being involved in the workings of the home instibin/showpage.pl), sending some applications, demos tution. Free of the expectations to win tenure, the nonand letters of recommendation, and successfully comtenure track bass professor has more control on the pleting an audition/interview. If this were the case, I focus of his or her outside creative time. However, in could end the article right now. some places that offer these types of positions, it is Before anyone begins the process of pursuing a prudent to remain active as a performer because procareer in the music academy, one must first understand fessional creative activity is not only good for the bank his or her own career motivations. Understanding these account, it can be used as a stipulation for renewal. motivations will help an aspiring artist-scholar navigate Part-time faculty members are paid to teach the classthe “Why Do You Want To Go To Graduate School” es or students that they are assigned to teach, and there admissions essays and all the variations of the “Why Do is very little expectation to be involved beyond the You Want To Be An Academic and Work Here” quesexact teaching assignment. Musicians who already tion when running the gauntlet of multiple phone, Skype, hold full-time positions or full-time freelance situaand on-campus interviews. There is no single right tions often hold these part-time positions, and they can answer to these standard questions; it is important to be provide a very rewarding experience as well as provide honest with oneself and with others about one’s motivaaccess to the vast resources of a university with minitions. As a result, the head game becomes less cluttered mal commitment. In some cases, these part-time posiand allows one to focus on the more important matters tions offer important teaching experience, which allow pertaining to the job training and academic job search. consideration for full-time positions elsewhere or at First of all, it is important to understand the different the institution where one served part-time. types of institutions that offer careers in academe. This Finally, if one has spent their time training for a becomes very important when you have to address, career in performance and has spent time as a practiwhether directly or indirectly, your “fit” within the orgationer (someone who has made their primary income nizational culture of a potential employer. No matter as a performing musician), the academy will offer a what anyone says, “fit” is important. That is why it is new set of values and reward systems that will need important to be honest with one’s own motivations to to be internalized alongside and sometimes reconsee how one may “fit in” with a potential employer. ciled with the value and reward systems of a practicThis means a potential colleague must research as much ing performer. Recognizing what is important to the as they can about a potential employer. Fortunately, the professoriate is important for the aspiring artistCarnegie Foundation for the Advancement of Teaching scholar to internalize, because that is the best way to has a very useful tool for learning about the different answer the question, “What Are They Looking For?” organizations where one could work. Go to http://classifications.carnegiefoundation.org/ to execute institution(595:8 03> (DMA standard listings. This is a good place to start before or PhD). Even though there are many in the tenured researching institutional web sites.
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International Society of Bassists
and tenure track ranks that do not hold doctorates, one can increase the chances of winning the job with that final credential. Avoid the situation where an application gets tossed out of the pile during the first cut because of the lack of a paper credential. One may have the most stellar performance and teaching history, but if a non-musician on the search committee or other hiring authority like the Human Resources officer is making the cut based on minimum paper qualifications, an application without a terminal degree might get tossed out, regardless. As mentioned in the introductory paragraphs, the academy has its own set of criteria that may seem very different from the practitioner’s world where auditions and competitions define a bassist’s abilities regardless of what credentials they may or may not hold. Will search committees and administrators make exceptions? Yes! In some institutions, like my institution at the University of Nebraska Omaha, it is written specifically in the hiring guidelines that creative artists who have demonstrated accomplishment as practitioners should be granted exceptions to the terminal degree requirement. Usually these job qualifications ask for “DMA or professional equivalent.” This allows search committees, administrators, and institutions more hiring flexibility, but there is still an advantage to holding a DMA/PhD over having “equivalent professional experience.” A DMA is a concrete and objective credential easily recognized by everyone in academe including the most nonmusical faculty and administrators that have never set foot in the campus performing arts center. “Equivalent professional experience” is subject to interpretation and not easily recognized by the entire professoriate and as a result, leaves very good and qualified artist-teachers vulnerable. One can cast a wider net and apply for more opportunities if the DMA program is finished or almost finished, and the journey through the tenure process becomes less arbitrary. Anyone that knows me personally might find this advice surprising, but even though many of us successfully landed a tenure track job without a doctorate, it is not a path that I recommend for everyone. One can always count on a DMA or PhD to meet a minimum paper credential requirement, but “equivalent professional experience” will always require additional explanations to the administrators in the hiring hierarchy and multiple advocates who are willing to take the time to make a pitch on a candidate’s behalf. Make it easy for search committees to hire you and get the DMA! 2) G@ D@:?5B ;>985F0 @>5:5:3, @/5:3 D<>5:/, :0 <>;??5;:8 ;> <>->B5C0 /095/ />0:@58? 5: :;@> /095/ > 5: 9?5/. Most entry-level full-time jobs will ask you to do more than teach bass. This reflects the simple reality that most music schools cannot afford to hire all the personnel that they need, and they often have to make the compromise of hiring one person that can be asked to perform two jobs at once within the limits of the standard workload for the school or department. These multi-disciplinary artist-scholars are very valuable to music schools and are highly sought after. Recent job postings in the C8?>93<5 ?6 H9785 E431D9?> have asked for applicants who can teach the following disciplinary combinations: bass + jazz studies, bass + music history, bass + music
education, bass + theory/composition, bass + music technology, bass + early music, and bass + music administration and business. The training comes in graduate school. If there is a particular academic cognate that is very interesting in the the long-term as well as short-term, consider taking at least eighteen graduate credit hours in that academic area. If the program allows it, declare that area of interest as a cognate area and fulfill the requirements for that academic cognate area. It is very important that one can demonstrate concrete teaching experience in the secondary area. Obtaining a teaching assistantship in graduate school in the academic area of choice would be the perfect situation. Or look to nearby secondary schools or nearby colleges who need part-time teachers in the secondary area of interest. Even a tutoring job is relevant. Just make sure there is documented teaching experience in the cognate area. Volunteer if you have to. Finally, publish papers and give conference presentations in the academic secondary area. Every academic music discipline has at least one or two academic/professional societies that provide conference presentation opportunities and publication opportunities for its members. Every academic music discipline has its own version of the ISB! 3) D19;:?@>@1 @@ ;A >1 : 1/1881:@ @1/1> C; /: A80 :0 9:@: 8>1, -=A8@ ?@A0; @>;A >1/>A@91:@ :0 >1@1:@;:. It is not enough to have teaching experience. The size of a bass teacher’s current studio and the accomplishments of the students in that studio weigh heavily in the evaluation of a potential faculty member. It is important for anyone who wants to win a studio teaching job to be able to demonstrate an ability to recruit and retain top-performing students who can then be developed under the guidance of the teacher and go on to become accomplished musicians. This can be demonstrated with the development of students in a private studio or with an institution-affiliated studio, although I think there is a bias towards institution-affiliated studios. Starting a new bass studio and recruiting and then continually developing all the students in that studio through inspiring and expert teaching so that their future accomplishments begin to reflect on your abilities as a teacher, is a long and complicated process that is beyond the scope of this article. The great bass pedagogues could probably write multiple volumes on this topic. However, there are a few pointers that can be highlighted, if the ultimate goal is a job in higher education. One must be able to articulate a recruiting strategy. Plan on answering this question in an interview: “How do you plan to recruit and retain students?” Answer the question succinctly and be prepared to give personal examples of how the recruiting/retention strategy worked. The best concrete answer to the question is actually having a large studio of students of remarkable ability to back up the articulated recruiting strategy. Also, make and maintain an extensive list of contacts of private teachers and school orchestra directors. Network at conferences and make school visits. Teach and coach at summer camps, festivals like allstate orchestras, string workshops, youth symphony rehearsals, and orchestra outreach activities. Publish articles in local newsletters and national journals. Be involved in the local and regional chapters of the national teaching organizations like ASTA, MENC, CMS, and MTNA. Be active in the ISB. Start a blog. Be anywhere and everywhere as a teacher and always at the front of everyone’s mind, so when the time does come to find a teacher, your name just naturally pops out because you are ubiquitous. This oversimplified view marginalizes the studio teaching profession. However, it does distill what is
important to the job search process. When you apply for a higher-education applied teaching job, search committees are not looking to hire just an artist-teacher. They are looking to hire an artist-teacher that comes with an empire consisting of recruiting contacts, former and current students, national and international reputations that raise the profile of the university and attract attention locally, and the demonstrated ability to attract students to the program. 4) E?@8? ;A> @>/7 >1/;>0 ? ?;8;?@ :0 /91> 9A?/: : 00@;: @; 1: : 1:?1981 <1>2;>91>. Schools of Music are one of the most visible components of an institution of higher learning, and they want visible faculty who perform as marquis players on any level. This might seem obvious, but the multiple pathways to achieving this goal are not as obvious. It is important to note that just because one is not an IMG roster bass soloist does not mean one cannot have a visible solo/chamber career of some sort. However, it will take some extra work to become a self-managed artist, especially at the outset of a career. Find every opportunity to perform visible solo recitals and document each proud occasion with video. Performance opportunities exist with local-level and regional-level concert series, performing arts venues who are also concert promoters, churches, arts collectives, academic and professional music societies (like the ISB, ASTA, SCI, & CMS), local bass clubs, faculty and guest recitals associated with teaching institutions, pedagogy-based teaching events like string camps and workshops, and chamber music series that are part of a larger ensemble’s concert series. None of these opportunities should be discounted or overlooked. This will take some marketing, networking, and cold calling, but as a top IMG manager said at a master class full of pianists at Peabody, “When your butt is on that piano bench, your mind must be focused 100% on the art of the piano. The minute your butt leaves the piano bench, it’s all business.” Make sure your solo engagements are well publicized through various media ranging from traditional press releases/press kits, posters in targeted high-traffic areas, and radio spots, to events web sites, mailing lists, and social media to assure that you add to your permanent web presence. Bassists who have spent a good deal of their career preparation isolated in a practice room and the conservatory environment honing the details of orchestra excerpts for auditions may be a bit squeamish about the business end of a self-managed career, but remember that higher education values visibility and reputation among its music faculty. If you want to have a shot at higher education, you have to align your performance history with its focus on solo/chamber music performance credentials. Does this mean orchestral experience is unimportant? NO! Orchestral performance is central to a CV because that is where the majority of the classical bass professional peer group makes their living. In short, schools want to see that you can do it all and represent their school as a highly-regarded colleague in the professional world in all of the various places that a classical bassist can practice their craft from orchestral to chamber to solo to niche. 5) B1 0@88 @>:?<>1:@. Is the digital representation of your accomplishments a clear, accurate, and flattering depiction? It starts with a professionally produced CD and DVD, which will be requested by search committees. It is best to have these ready in advance of any job announcement, so you can just send them the minute materials are requested. There is no time to make professional CDs and DVDs on demand as job prospects open up. It is a good idea for any aspiring artist to have a CD. A CD or DVD is like a business card at the very least, but if manufactured in large quantities and sold through digital aggregators and distributors like CD Baby, they can also help
market you as an aspiring academic. CD sales and music downloads can also be good for the pocketbook. Your online artistic presence is very important. Count on getting Googled when you apply for a job, especially by those that will have interest and input in the search, but may not be on the core search committee. What results are returned when your name + “bass” is typed and entered into Google? Some call this your “Google resume.” You should have a Youtube channel with complimentary videos of your playing. Videos of live performances are especially important. You should have a public Facebook musician/band page that is separate from your personal page. Also, a Myspace music musician page is an excellent way to upload your audio and video documents and press documents for the public. Soundcloud is emerging as a public repository of audio work. Finally, your formal 1-2 page resume (brief version that highlights your accomplishments) and CV (everything you have done) should be posted somewhere. Linkedin or Academia.edu works perfectly for this purpose. I’m currently experimenting with ADAMS (Academic Digital Audio Music Service), a new service of the College Music Society. There are many free artist services that will allow you to get your name ubiquitously associated with “bass.” 6) B1 ;:1 ;2 @1> /;881A1? 8>10. This refers to “fit” and understanding not only the specific organization to which you are applying, but also understanding the overall profession of higher education. *85 C8B?>93<5 ?6 H9785B E431D9?> is a great place to spot job openings, but it is also a great publication for learning about the higher education profession. You have to highlight in both application materials like your CV and in interviews that you understand the challenges that face a professor, a school of music, and the larger university. Search committees want to know that you sincerely share their concerns and aspirations, and that if you were to be offered the job, you will fit in with them as if you have been collegially working beside them for years. It is a complete disconnect for a search committee when an institution is currently focused on one item like educational assessment, recruiting, or organizational infrastructure and a candidate is focused completely on something else. It is not that you have to be a chameleon. You have to direct your attention to the focus of the specific institution. There is a whole other side of the music academy, jazz bass. I have not addressed it because that is not the primary path that I followed, and I do not want to feign any kind of advanced expertise in that arena. It should go without saying, that one has to be at the top of their game to be competitive in this business, so don’t ever allow the business to supplant the art. This seems like a lot of work to get an academic job. For many of us, it does not seem like work, and that’s why we do it. If you love what you are doing, you will find that things just work out naturally. Going back to my introductory remarks about being honest with yourself, if you really like what you are doing, this advice will never seem like drudgery and it will be a lot easier to be at the top of your game whether it’s being an orchestral player or being an academic bassist. Good luck !
Volume 35, Number 3
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International Society of Bassists
CHIL D’S P LA LAY Y
Virginia Dixon, Editor
Starting Star ting a Class of Young Bassists A<8?78 G5 G?<4 G?<4 <9;5 ? 6?3C ?> @<1I@<1I9>7 1>4 51389>7, 29<49>7 1 31B55B 9C 1
4 @B?=?9?>. H5B5 9C 1 C335CC6< 21CC9CRC 5@5B95>35. 9B79>91 D9?>, E49?B
I began my Suzuki experience in 2007. 2007. It was very exciting to be the first Suzuki double bass teacher in Italy and one of the first three in Europe, along with Nicoline de Waal-Asberg from the Netherlands and Peter Skriver from Denmark. I took my first Bass Teacher Training course in the USA under the good teaching of Virginia Dixon. Once back at home in Italy, I had to find a way to introduce double bass into the Suzuki family of instruments and to publicize the possibility for the very youngest player to tackle its enormous size. The first idea I had was to contact some Suzuki school directors, hoping to create interest in this new movement, and putting strong emphasis on the fact that it would be the first time this teaching method was being applied to the double bass in Europe. However it was not enough because they needed to have something more detailed and concrete about it before risking the introduction of a new instrument in their schools. Through this experience I discovered that I needed to take an additional step before this by making a brochure with general Suzuki philosophy (only for nonSuzuki schools), an explanation of the positive effect this method has for children (which I had seen through observation in the USA), a presentation of the way this method is applied for double bass and, probably the most important thing, pictures of happy students during group and private lessons. I was now very happy with my work and I needed only one thing more, my résumé (curriculum vitae). I decided to attach my regular résumé, but after some thought I wrote a new one for this situation. In the first part, I put all my data, my references and my diplomas (also nonmusical). I divided the second part into three different columns with my experience in ensembles
and masterclasses, recorded CDs, and everything musical that I’ve done, as well as other kinds of work that are indirectly connected with music such as Alexander, Kodaly, in addition to summer camp and school teaching. Now all was ready to start presenting my more polished project, and I contacted the Suzuki Schools by mail and in person. To my surprise the responses were positive!! It was time now to speak with school directors that were interested, but the surprises were not yet ended. At the first evaluation interview the school’s chief, after a long discussion about the approach of the Suzuki method on double bass and whether it would work equally well in Europe, asked me about finding the instruments. This threw me into an embarrassing situation. I suggested that it would be easier to use small cellos tuned like a double bass such as a ¾ for four- or five-year-old students, with a bow one size below. But, I had no idea about where it would be possible to find a real small-sized double bass! So I was back to my research. I asked in all the nearby music shops to find the best offer, but a lot of them didn’t sell the smallest basses at all. Finally, I found a good compromise with a large dealer that could find small double basses, but only size 1/8 or larger, and nothing smaller. This was a good start, but not enough because the beginners often are about 4 or 5 years old, so they must have 1/16 sized instruments! There was only one possibility to solve this problem immediately. I had to find some 3/4 cellos and modify them into “cellobasses!” This was very simple. The dealer that found double basses for me had no problem adding some 3/4 cellos (or even 1/2 cellos for the smaller students!!) to be retuned at G-D-A-E in the cello range. And so I made a table with the age of the student, size of the instrument, price, and the name and address of the shop to make it easier to answer questions about instruments the next time I would present my project. The years following I started to teach in my first two schools and everything was
fine. I had two small students that used ¾ cello in one school, and four others in the second school that used a mini bass bought by the school from the shop I had found. I was very excited about my new jobs!!! But my promotional work had not ended. Since I had previously used only pictures from Virginia, I had to collect new materials that I created myself. The students’ parents and I started to make photos and videos of private and group lessons. I held public rehearsals and exhibitions showing how fun it is even for the youngest students to play double bass. These methods made it easier to attract more schools and students, but the problem of instruments arose again. The student who had started with cello needed a real 1/8 bass; cello is good for the beginner, but the tension of the strings is very high for a five-year-old. So they should change it as soon as possible, preferably after the first year, but the school or parents could not buy double basses more often than every two years. My new solution was to find a place that rents instruments! This is, I think, the best idea because parents don’t have to buy double basses but only pay a fee every month, changing the size for free when it is necessary until the student is big enough to buy a 3/4 double bass. The school doesn’t have to spend money for an instrument. There is insurance on the instrument that covers every kind of damage, which is not so strange in the hands of a five-yearold!!! Furthermore, set-up and and sound are very good because they are higher quality instruments. In fact, these double basses would be very expensive to buy! Now after three years my students have increased in number to more than twenty in three different schools, so I think that the promotional method that I’ve created out of my direct experience works well. I’m very glad to share it with everyeverybody wanting to start a double bass class in his own country or city. I hope this small story is of help to somebody!
Volume 35, Number 3
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International Society of Bassists
MY
TURN
Excellence in the Age of Ratings By Michael Klinghoffer
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It all started at the end of the summer, on a pleasant evening in the south of Israel, during a festival for young rock bands. Several young artists who began their career at this festival have gone on to win fame and recognition. Among the players, there were a few whom I knew from a pro ject of the Jerusalem Academy of Music and Dance. Since I was not on duty that evening, but rather playing the role of father (my eldest son, who was volunteering at that time in one of the towns, had joined one of the bands), I kept a demeanor of anonymity and listened with interest and with pleasure much of the time. At one point my younger children, who had come to see their big brother and the guest stars perform, whispered to me: “Dad! There’s Mr. Mitelman!” “Mr. Who?” I asked naively. “Mitelman, you know the keyboard player from TV. He’s on the jury.” From that moment on, dozens of questions kept surfacing. I thought, for example, about the excitement the presence of a celebrity raises in young people. I thought about how these young artists, blessed with talent, were performing in the south that night, but how they were thinking about the moment that people would recognize them on the street. I thought about how they were dreaming of the money and the glamorous life that went with a megastar status, and I thought about the fact that unfortunately for some of them reality might not be as glamorous as the dream and for some the dream might shatter completely. As time went by, these thoughts were replaced by new ones. "Wow, what a talent… a convincing performance… great
talent… true musician… authentic… suitable for the Academy… oops!!... Not for the Academy… why does she need it … straight to the television… she can swim in her own water… rock needs to grow on the street not in the university….” But wasn't this one of our measurable goals—to have as many young people come to our academy? Was it not one of our goals to have as many first generation higher education students as possible? I asked myself if there was a similar phenomenon in other fields. Let us imagine a young man with excellent achievements in the fields of math and science. He is just about to make a choice between a quick and glamorous position in high-tech and the possibility of working on scientific research. Despite the fact that this young man has all the traits assuring him great success in scientific research, his chances, especially in our country, of earning a respectable living from research are much smaller than his chances of providing for a family by working in high-tech. Even if he were successful in the field of research, the academic path has fewer opportunities, is less financially rewarding, and is much longer. If our young man’s field is in humanities, his situation is even worse. Just a few weeks ago, the tragically small number of Hebrew literature students was published. What is the likely career path for an articulate student with excellent verbal skills if he chooses to study communications as opposed to the career he should expect if he finished a PhD in literature or history? Having said this, who are we to claim that the work in literature research is more important than that of advertising? Or that it is better to be involved in classical music than in commercial music? Who am I to use the power that I was given as an educator to influence the future occupation and lives of young people? Can I even promise them that they will be better off in academia than in economics? Or in history research rather than in communications? Can I guarantee them self-fulfillment as musicians and as people, as Music Academy graduates? And what is the most sublime goal of education if not to maximize the potential in each student as a pro-
fessional and as a person? Self-actualization is much talked about these days. The psychologist Abraham Maslow drew a straight and obvious connection between self-actualization and excellence. Unlike Freud, who focused on studies of extreme mental disorders and unlike the behaviorists, who studied the average person, Abraham Maslow believed that we should study instead that group of elite excelling people he calls “Self Actualized.” In his research, Maslow found that creativity is the most distinguishable common denominator among all the subjects he ascribed to that category. This creativity is characterized, among other things, by spontaneity, courage, the willingness to make mistakes, and humility. Maslow claims that in some senses this creativity is similar to the creativity of children who have not yet learned to be afraid of the ridicule of others. “Almost any child” says Maslow, “can compose a song or a poem or dance or a painting or a play or a game on the spur of the moment, without planning or previous intent.” 1 If we return, for a moment, to that festival in the south, I can say for certain that the words above are accurate regarding most of the young participants, especially those who performed original material. Their material, itself, was simple, without sophistry and the performance was spontaneous, expressive, natural and honest. “For this reason” says Maslow, “these people waste little time or energy protecting themselves from themselves. They are not afraid of their own desires; their appetites agree with their judgments.”2 From the performances of these youngsters, it was clear to me that they had worked very hard. One could not help but notice that they had enjoyed the process at least as much as they enjoyed the results. Maslow also mentions hard work. “Inspirations are a dime a dozen. The difference between inspiration and the final product is an awful lot of hard work.” 3 With that, Maslow claims that creative people’s love for games merges with their diligence and thus work and hobby, or game, converge with one another. Everything seemed perfect on that loveVolume 35, Number 3
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ly summer night, maybe too perfect, but I wasn't convinced. Something was missing. My head was once again filled with disturbing questions. Does that “childlike” creativity necessarily lead to scientific discovery or groundbreaking artistic creations? Does hard work guarantee that we achieve results that hold meaning for us or other people? I returned to Maslow and discovered that there are several other traits ascribed to the special people he had researched (for example, openness to new ideas and experiences and a deep understanding of themselves, of other people, and of processes). Many times, they were people with inner paradoxes. From those seemingly selfparadoxes, Maslow found that these people have the ability to penetrate deep into latent and cluttered realities more efficiently than other people. He calls this trait dichotomy transcendence, the ability to transform opposites into unities. 4 In other words the outcome of our educational work should be a person who asks questions, casts doubt, and from his own self-unity tries to find principles of world unity from elements which had been considered unrelated to each other.5
10
International Society of Bassists
!@ 9 ><@ @45? 8?@ ?@/, C45/4 2;> 9 5? @4 ??/ ;2 /@5;: A@ >E 88 @ >E 3 @4 ?@@ 9?@ /;>3 @; ?7 =?@5;?, @; /?@ ;@, @; 25 C 5@>?@53 /;/@5;?. If that is the case then education has to defend itself against three main fallacies: A) A /458 /;@ />@5 52 4 ;? ;@ 4 @;;8?. Maybe a child cannot write a story if he does not know how to write, but he can make up a story or tell a story. There is no connection between the child’s writing skills and his ability to create a story and express himself with the tools available to him. At least from my experience with the festival in the south, I feel that natural creativity exists in everyone and as educators, we have to nurture it and keep it safe. As Maslow says, we have to help children overcome the fear of other people’s reaction. Those teenagers from the festival in the south, had no academic training in music, and I think most of them had learned by themselves or studied with a teacher for only a very few years. This fact
did not stop them from expressing what was in their hearts in order to achieve a degree of professionalism that would not shame any popular television show. However, the road from here to the masterpieces of rock and pop is still long. The greatest danger in this assertion is to assume that if indeed we should not touch the “things that are beyond” until the students have learned enough skills, we might find the students have grown up and we have yet to engage them. This assertion “helps” teachers and students to avoid dealing with the real issues, which are probably more complex for both. B) + ?4;8 ?@>5 2;> <>;2??5;85?9. With the help of correct methods, practice, determination and diligence, we can achieve results of the highest degree of professionalism in every field. An orchestra that plays perfectly together with a beautiful sound, in perfect intonation and with all the right notes is certainly a great accomplishment but not always a great pleasure to hear. We must remember that all these are mandatory conditions, but they are not sufficient for a musical experience to occur either for the performer or for the listener.
Unfortunately, we are so blinded by the idea of professionalism, that in most cases we stop at this stage. C) I2 5@ /-::;@ 9-?A>0, 5@ 0;? :;@ D5?@.
In the age of ratings, where success is a measurable thing, there is no place for excellence. Professionalism is measurable: how much this or that group has played together, how many mistakes were made, and how clear the text was (what percentage of the text did we understand correctly)—all of these are measurable. On the other hand, how much a song challenges convention is immeasurable, how many musical and nonmusical connotations does it stimulate for the listener, and even how original and how soulful the performance was is immeasurable. We can check how many correct answers a student had on his mathematics exam, but we cannot quantify just how original or elegant a particular solution was. When we stumble upon a brilliant solution or a brilliant creation, we identify them immediately, but we are afraid to approach the subject because of questions such as how can we measure success? How will we be able to grade? Maybe it is all a subjective matter? Being part of an academic institution, I went into the process of evaluation and assessment of our project in the community. In order for the evaluation to be even more objective, we hired ZOFNAT, a company that is known for its work with educational institutions. The results were surprising to all of us—students and faculty, as well as, to the people from the communities we worked in. The highest-ranking statements in all three locations were, in the first place, “I have learned that in order to improve I have to work hard and put in much soul” (Average 4.91 out of maximum 5), and in the second place was the statement, “I like working with my student instructors” (Average 4.78). These two statements were rated far ahead of all the other ones, including the ones that dealt with the various musical experiences and with the individual musical progress. “Had we failed musically?” I asked myself, “Shouldn't we be teaching music? Shouldn't we instill musical skills? Shouldn't we make them better young professionals? What about all the measurable outcomes?” But then I tried to think what I felt were
the most cherished moments that I had experienced with this project. The first one was quite frightening. One afternoon the bus was late. When we approached, we saw the children waiting for us in the parking lot. When they noticed us coming, they started running enthusiastically towards the bus. I cannot forget how I panicked at that moment. Neither can I forget the excitement and happiness on the children's faces. The other event was when two drummers came for the first time to the Academy in Jerusalem and we took them into the percussion room. Just looking into their eyes said everything. A new and exciting world of mystery and possibilities had just opened up for them and for us. These were strong experiences, but like the statements that we discovered in our survey, they had nothing to do with measurable musical success. Rather, they had to do with the vague term "values." Was that then what we had been doing? Should we reframe our goals? If indeed education is about actualizing the potential of everyone, as a person and as a professional, we must acknowledge the fact that instilling knowledge and skills, important as they may be, must forever remain only within the boundaries of the necessary conditions and we must therefore always strive to go beyond the measurable into the real world of values. It was late; the young musicians were saying their last goodbyes. We went back stage to congratulate my son on his performance. A few of the musicians came to me and said, “the project will continue next year, right?” and one of them added, “and by the way, what do I need to do if I want to study at the Academy?”
The Author
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Notes
Frank Goble, *5 *B4 F?B35: *5 &3?
Volume 35, Number 3
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International Society of Bassists
William “Keter” Betts: EVERYBODY’S LEFT HAND MAN By Paul Scimonelli
I think the best way to introduce William Thomas “Keter” Betts to you is through this anecdote: In the mid-1980s I was studying improvisation with Keter. One day I had to call him to arrange a lesson time. I got his answering machine, with this message: “Hi. This is Keter. Hey, do me a favor? Listen to this.” [He then proceeds to rip off an extremely hip twenty second jazz bass riff.] “I’m down at the police station ‘cause the cops said something about my licks being too illegal. I don’t know. Wait for the beep and let me know what you think.” 1 That was Keter: a tremendous sense of humor, charming, avuncular, and the first person to help if you asked. He was loved and admired by all. And there was much to admire about William Thomas "Keter" Betts. As a bassist, he had flawless technique, a distinctive tone, and the ability to serve both as a steady timekeeper and a compelling soloist. As a bassist, I had the pleasure to listen to him on numerous occasions, and, as a bass player, rued the day that I couldn’t play with him. When he was on stage, there was no equal. He was THE bass player of Washington D.C., and all of us in the musical community gave him his “props” with respect and admiration. William Thomas Betts was born on July 22, 1928 in Port Chester, New York, and raised by his single mother, a domestic worker. He got his nickname when a family friend said the baby was as cute as a mosquito. Mosquito became “sketer,” then Keter.2 Betts was a man of many nicknames. A 1996 189>7D?> &?D article dubbed him “The First Lady’s Sideman” due to his long association with the great Ella Fitzgerald. 3 In Washington, he was known as “Everybody’s Left Hand Man.” Perhaps the best nickname was that which he earned
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later in life while onboard the famous Jazz Cruise that left from Ft. Lauderdale, Florida. He was known simply as “The Mayor.” Keter knew EVERYBODY, and sometimes knew more than half the audience. He was the veritable 9>6?-35>D1<—so and so was on this recording, so and so was on this tour there, there was an opening for a band at this festival there. Even though you could never get Keter for a club date because he was always booked, he was kind and giving to a fault. His book of contacts
was endless, and he was the first to give newcomers to the city a chance to break in. 4 Betts credits an Italian street parade for inspiring his musical career. In fifth grade, his mother sent him to the store for groceries. He saw the parade and followed the drummer all over town for hours. In spite of being punished upon his return, he convinced his mother to buy him his first drum. She helped him get a drum kit, and by the time he was a sophomore in high school, he was going into New York City for drum Volume 35, Number 3
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included concerts, club dates, radio broadcasts and recording sessions, including the 1954 D>8 = recordings. Betts developed a trusting relationship with the singer and in fact was appointed the executor of her estate. 10 Betts credits Dinah Washington with his “musical epiphany” as he explained in the National Visionary Leadership Project videos. Before playing with Dinah, Betts played with sidemen, where he would focus on just the chord changes of a song, building his bass lines around them, and supporting the soloist. There were no real “charts” for the songs, and everyone would be “faking” or improvising around an established set of memorized chord changes. Upon entering Dinah’s band, he realized a majority of Dinah’s charts contained just the melody, the lyrics underneath, and a simple set of chord changes. He learned from playing and listening to Dinah how the melody fits the lyrics and the chord changes, in essence, the entire nuance of the song, not just working around the chord changes. 11 Betts explained it to National Public Radio host Steve Inskeep for the program “In Their Own Words:” “My concept is that a singer comes out there, is buck-naked and it's my job to dress that person for the audience. A person comes in and I'm a tailor and they want a certain type of a jacket made with a double vent and this big guy wants one made with no vent and so forth. If you dress each one of those the way that they want to be fitted, and when they come out of there, their clothes fit them well, you’re a good tailor. And I started tailor-making my bass to fit for the singing.” 12
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As he explained to this author many times during improvisation lessons, “you don’t really know a song until you can sing it, and you certainly can’t improvise around it until you do.” 13 Betts met and married his wife Mildred "Pinky" Betts in 1953. The reception, paid for by Ms. Washington, was held at the famous Birdland club in New York City, with Tito Puente providing the music.14 He toured with Dinah, Earl Bostic, and Cannonball Adderly intermittently between 1950 to 1956. When “Keter” and “Pinky” started to raise a family, he decided to give the road a rest and settled back in the D.C. area.
lessons every Friday.5 In 1946, Betts went to New York City, intent on seeing Cab Callaway’s band, and to meet and talk with his drummer, Cozy Cole. However, Calloway’s bass player Milt Hinton met him at the musicians’ entrance, told him the drummer was already gone, and offered to spring for a 35-cent lunch, talking up the virtues of the bass all the while. After years of hauling his Gene Krupa drum set up four flights of stairs, Betts had had enough, and was persuaded to switch to the bass in his senior year of high school. 6 Hinton recommended a bass teacher in the city. However, the man was too busy at the time, and he referred Keter to a bass playerteacher in Brooklyn, Arthur Miller. 7 Betts’s first big break came in 1947, just a year after graduating from high school. Saxophonist Carmen Leggio asked him to work with his band, and Betts jumped at the chance to make $60 a week! Betts came to Washington D.C. in 1949 to work at a supper club on 7th & T Street. It just so happened that saxophonist Earl Bostic was coming through town at the same time. Bostic’s regular bass player was leaving the group, and another band member who had heard Keter play told Bostic to hire him, which Bostic did. What followed was a two-year stint touring the country with Bostic. 8 Betts made his recording debut with Bostic on the recordings B?3 ? /? and E< B?3 > 8 %385.9 In 1951, singer Dinah Washington persuaded him to P!55Q >Q &>;Q 25>7 =5 2 85 5. A= C<?> &?G5<< G8 #. D>8 join her for what turned out to be a five-year hitch that -8>7?> > 85 ??G (C?5, D. F5 I2 III, H?G +>5 JJ 385) 14
International Society of Bassists
Ella had been gone, then just three years. “To me it was one of the most special of all of Ella's performances I ever heard.”17 Ella often remarked to critics that Betts seemed to have a “sixth sense” about exactly what she needed, and that it was the bassist, not a drummer, who drove her music.18 Keter, equally effusive in his praise said: “Ella climbed the mountain and then she became the mountain and the people of the world came to the foot of the mountain and paid homage to her. I was just fortunate enough to be behind the mountain.”19 !55, C1<5 C?9>7?>, D. F54 I III, E>9? #1>35, G14 *15 (C?E5, D. F54 I III, H?14 +>959 1JJ 1395)
Around 1957, he began freelancing around the D.C. area, which led to playing with guitarist Charlie Byrd at a Sunday night jazz jam, first at the Vineyard Restaurant, then at the Showboat Lounge. In 1959, Betts and Byrd raised their international profile while on a State Department sponsored tour of Europe and South America. They brought back with them some of the new sounds from Brazil that helped introduce B?1 $?1 to American audiences. This led to the recording of the historic 1JJ 1=1 album with Stan Getz in 1962. Betts’s supple bass line was instrumental in propelling the Antonio Carlos Jobim hit “Desafinado” to the top of the Jazz and Pop record charts. Throughout the 1960s, Betts would tour and record often with Byrd, Getz, and Jobim, as well as Dick Morgan, Sam Jones, Kenny Burrell, Herb Ellis and Barney Kessel. 15 Another turning point took place when Betts joined the Tommy Flanagan Trio. In 1964, the trio began to accompany singer Ella Fitzgerald. He played in Ella’s band during the mid-1960s and again from 1971 to 1993. Flanagan and Betts, alongside various drummers (including Bobby Durham, Ed Thigpen, and Gus Johnson) formed an infallible rhythm section: flexing, swinging, playful, warm, and refined—all the qualities Fitzgerald herself personified. Betts played with Fitzgerald until her final performance in 1993.16 When asked what he considered to be Ella’s most memorable performance, Keter told syndicated columnist Martin Schram this especially poignant story: Keter said Ella’s most memorable performance was in National Airport in 1982, in the middle of a crowded terminal. Fog had delayed things, and tempers were frazzled. “We were waiting for our plane when a baby—no more than six months old—began to cry. I mean that baby screamed and screamed! And the mother was frantic because she couldn't get the baby to stop. Ella, who was so sweet, was such a sucker for children. And so she walked over and in the middle of a crowded airport she began to sing a lullaby to that baby. Well, wouldn’t you know it, the baby hushed immediately. And all through the airport, everyone stopped what they were doing and listened to Ella's sweet, pure, crystal-clear voice singing that lullaby.” The gleam in Keter’s eye began to trickle down his cheek.
In between engagements with Ella, Betts’s side work included playing in bands with Oscar Peterson, Woody Herman, Nat and Cannonball Adderley, Joe Pass, Clifford Brown, Hamiet Bluiet, Sam Jones, Clifford Brown, Kenny Burrell, Louie Bellson, Joe Williams, Vince Guaraldi, and Roberta Flack, just to name a few. In his 60+ year career, Betts appeared on more than 100 recordings with Fitzgerald, Flanagan, Getz, Byrd, Dick Morgan, Dinah Washington, Clifford Brown, Count Basie, Bobby Timmons, Louie Bellson, Sam Jones, Nat Adderly, Wes Montgomery, and many others. However, it wasn’t until 1998 that Betts, with the urging of his daughter, finally recorded under his own leadership. The selfreleased B1, BE4495, & B
*5 ?979>1< C1<95 B4 *9?: !55 B5, C1<95 B4, B9<< 5935>13 (M 2008 5>>965 B5, 1<< 97 5554) Volume 35, Number 3
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!55 B5 1 *85 895 H5 G98 $1>3 5171>, E<<1 F9J751<, 1> >1< 5171> (35 6 85 5171> 595>91< "921)
Maryland.20 In 2004, the Keter Betts Trio appeared in the Emmy Award winning HBO movie “Something the Lord Made,” performing an original composition for the film.21 Betts maintained an impressive playing schedule. Besides his concert performances and club date work, Betts performed and lectured at schools and music workshops within the D.C. Metro area and the neighboring counties of Maryland and Virginia. He worked closely with The Wolf Trap Center for the Performing Arts “Head Start” program, the Washington Performing Arts Society’s “Concerts in Schools,” and the Prince George’s and Montgomery County “Arts Alive” program. He also served as musical coordinator for jazz programming at Black Entertainment Television and as instructor/lecturer at Howard University, both in the District of Columbia. If that wasn’t enough, Betts was a member of the Smithsonian Jazz Masterworks Big Band, and frequently performed with the Kennedy Center’s former Director of Jazz, Dr. Billy Taylor on his “Billy Squared” program. Betts performed annually at the All-Star Christmas Jazz Jam on the Millennium Stage of the John F. Kennedy Center for the Performing Arts from 2000 to 2004. 22 Betts was an inductee into the Washington Area Music Association’s Hall of Fame, as well as the recipient of the Linowes Leadership Award from the Community Foundation for the National Capitol Region. In honor of his 75th birthday and his many contributions to jazz, the Keter Betts Endowment Fund was estab16
International Society of Bassists
lished at the Duke Ellington School for the Arts in Washington D.C. After being nominated by “BET on Jazz,” Betts received the Mid-Atlantic Arts Foundation Living Legend Award in 2003. On September 11, 2004, the city of Silver Spring, Maryland officially assigned the date as Keter Betts Day, and in December of that same year he received the 2004 National Academy of Recording Arts and Sciences Award. 23 Betts noted that he was influenced by the playing of Ray Brown, Jimmy Blanton, Oscar Pettiford, and Niels Pedersen, but many feel the influence was reciprocal. Widely considered the most respected journeyman bassist in jazz music, Betts passed away at age 77 in his home in Silver Spring, MD, in August of 2005. His funeral was attended by over a thousand fans. Remembrances came from many of Washington DC’s finest musicians, as well as such Jazz luminaries as Dr. Billy Taylor, Junior Mance, and Freddie Cole. 24
ENDNOTES
Personal remembrance of author. Jennifer Betts, personal notes and interviews. 3 189>7> Newspaper, Sunday, June 23, 1996. Arts section, Keter Betts byline. 4 Jazz Drummer Lenny Robinson, personal remembrance. 5 Cohodas, Nadine. '55>, 85 "965 1> #93 6 D9>18 189>7> , Pantheon Books, Random House, NYC, p. 115 6 National Visionary Leadership Videos: www.visionaryproject.org/Keter Betts; 1 2
189>7> obituary, August 8, 2005, Adam Bernstein, staff writer. 7 Cohodas, Nadine; '55>, 85 "965 1> #93 6 D9>18 189>7> , Pantheon Books, Random House, NYC, p. 115 8 Ibid, p. 116 9 Internet site: Earl Bostic Discography: “Wrap Your Troubles in Dreams,” B93 6 /, King Records, 1956, LP, #503 and “Always” and “The Moon is Low,” E1< B93 & H9 %3851, Vogue label, 7” EP, 1956, EPV 1111. 10 Cohodas, Nadine; '55>, 85 "965 1> #93 6 D9>18 189>7> , Pantheon Books, Random House, NYC, p. 241; Jennifer Betts personal notes and interviews. 11 National Visionary Leadership videos. 12 “Keter Betts: Reflecting on a Life in Jazz” National Public Radio’s “In Their Own Words,” Jim Inskeep, host, August 8, 2005. Transcripts. 13 Personal remembrance of author. 14 189>7> obituary, August 8, 2005, Adam Bernstein, staff writer. 15 Jennifer Betts, personal notes and interviews; Riverside Records Discography, 1960: Nat Adderly Sextet: ; >7 (RLP 12-318,) January 25, 1960; Sam Jones Septet: *85 < 395 (RLP 12324,) March 8, 1960; Dick Morgan Trio, D93; #71> 1 85 8G21 (RLP 12329,) May, 1960; 55 81 I #51>? (RLP 347) October 31, 1960; Charlie Byrd Trio, 1JJ 1 85 8G21, <. 4: C81<95R C8935 (Offbeat OLP 3007) December 1960. 16 www.allmusic.com: Keter Betts. 17 By Martin Schram, Washington-based columnist for the Scripps Howard News Service, Op-Ed Column for August 8, 2005. Martin Schram’s weekly column is distributed by the Scripps Howard News Service to more than 400 newspapers. 18 189>7> Newspaper, Sunday, June 23, 1996. Arts section, page G1. 19 Ibid, page G5. 20 Jennifer Betts, personal notes and interviews: Betts’s albums are copyrighted by him at !55 B5 #93 . 21 Notes from Keter Betts Memorial program, August 9, 2005. 22 Ibid. 23 Ibid. 24 Personal remembrance of author. D. 1< 39=>5<<9 9 35>< 1 =5=25 6 85 #93 F13< 1 85 "1>> 38< 6 2 9> B5851, #1<1>. H5 7115 G98 1 D31< 5755 9> #93
E419?> 6?= *8 C18?<9 +>99 ?6 A=91, 8 8 1 8 I>? ?6 8 C+A 1JJ E>=2<, 1 << 1 1 ==2 ?6 8 C+A )=@8?> %81. A7 98 189>7, 1< 81 2> 1> 19 @?69?>1< @6?= 8?78? 8 71 189>7?>/B1<9=? 11. I> 8 C<191< 69<4, 8 81 @6?=4 98 %81 9> (98=?>4 1>4 ">827 979>91, *?>, A9J?>1, *8 B1<9=? C81=2 %81 1>4, 6? 35 1, 81 2> 1 7 @ 6?=, ?=@?, 1>4 ?>4? 98 *8 *8?=1 66?> +>99 C8?9 1>4 %81 9> 89<14<@891, >><1>91. I> 8 ?<4 ?6 189>7?> 81, 1< 81 @<14 6? 4?J> ?6 8?, 9><49>7, Cats, Starlight Express, Grease , 1>4 The Sound of Music, ? >1= 2 1 6. A<? 1 ;9<<4 1?=@1>9, 1< 81 @<14 98 <=9>19 8 1 )1== D19 ., ?8>> #189, (1 C81<, D9JJ G9<<@9, 1; ?>, *?>9 *>9<<, ">> A>4?>, )1= & D1, A81 F1>;<9>, *8 F? *?@ 1>4 =1> =?. F? 8 1, 1< ? @?@ =9 9> $189<<, *>> 6? 1< =1:? @2<989>7 8? 1>4 1<? @6?=4 1 1 1 ==2 ?6 P*8 )>19?>Q 1>4 PA *8 H?@Q 9> %@<1>4 +)A 8= @1;. D9>7 89 1 9> *8 +>94 )1 #19> B1>4, 8 @6?=4 6? =1> 89 H? 1>4 )1 D@1=> 6>9?>. D9>7 1>4 16 89 > 98 *8 #19> B1>4, 8 @6?=4 9> I>171< G1<1 6? 94> $9?> 1>4 F?4, C1, (171>, B8, 1>4 9 6? 94> C<9>?>.
Personal Remembrances and Quotes
In January of 2012, I asked current District of Columbia Federation of Musicians President Ed Malaga permission to send out a call for submissions through the Federation web site, and my request was graciously granted. I was overwhelmed by submissions. Below are just a few of the outpourings of love and affections from former students and fellow Washington DC musicians. “Paul, I thought for a long time about what to write. It seems that every time I hung out with Keter, I would get a music lesson just by having a conversation with him. I do remember being over at his home once, when he gave me an exercise to try when I got home. Keter told me to take my guitar into the darkest room in my home and try playing, with my eyes open. ‘It is important to keep your eyes open,’ Keter said, ‘in order to get the full effect of this exercise.’ Playing in the dark is obviously very disorienting and the idea was that after about 15 minutes, your ears and your hands would synchronize and you would be able to hear how far to move your hands in order to play a melody, or the chord changes to a tune, etc. I set the timer on my watch for 15 minutes and began. It was awkward and very clumsy for about 12 or 13 minutes, then all of a sudden, I could hear where my fingers were in whatever position I played in, and songs were so easy to play without fumbling around. I felt totally at home. I ended up in that room for 45 minutes playing with abandon and knowing exactly where my fingers needed to be for any song. I then called Keter to tell what I had discovered. He said, ‘I didn't hear from you......I thought it didn't work.’ I then told him it worked so well, I couldn't stop. Keter was a marvelous teacher as well as musician and friend.” O Steve Abshire, 6?= 7919 98 8 +. ). $1 PC?==?4?Q 1JJ E>=2< “I had the pleasure of knowing Keter for the better part of three decades. During that time, I was always struck by how generous his attitude was toward novice players. I never once got the feeling that he was condescending or belittling players less advanced or talented than he was. He always had that big smile that lit up the room; how I miss him coming into the shop and chatting with the Moms and little kids. Occasionally, a young bass player would come in and see Keter standing there and freeze like a deer in the headlights. They would either stammer or be speechless as he would catch their eye and smile and say, ‘aw c'mon man, I'm just doin’ what I know how to do.’ He once told my then 12-year-old daughter (now a mezzo with the LA Opera) ‘You have to make the music your own; don't just borrow it. Steal it and make it yours.’” O Dalton Potter , ?>, *8 ? 9?<9> C?=@1>, B841, #1<1>4 “I had the pleasure of playing piano in the Keter Betts trio for almost fifteen years, and with that came many great experiences. It was such a joy playing with Keter because of his musicianship and the experience he brought to the bandstand. He had such a passion for music, not just playing but listening, too. He was always listening to new recordings, whether up-and-coming artists or established ones. He would wave me over to his car to get in and listen. Keter loved being with musicians and sharing stories, though he never really talked much about the music itself, like chords or harmony, the way a music teacher might. These lessons were conveyed with his bass on the bandstand. If there was a chord he wanted (that I wasn’t playing), he would turn, in a very subtle way, and give a very certain look. When that part of the song came around again, hopefully I would have it and not get that look! Those are valuable lessons I’ll always be grateful for.” O ianist Robert Redd , ?=@?, 11>7, 1>4 DC 214 6<1> 19
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“I can say with some certainty that I was the first student Keter ever taught bass to. I was playing and teaching guitar at a [small] studio, which eventually became the Charlie Byrd Music Studio in Bethesda, MD. The manager's name was Richard Harrison, who wrote arrangements for Charlie Byrd. We knew each other quite well because I took guitar lessons from him and eventually became a teacher there as well. When I starting learning how to play the bass in high school I had a few teachers but none of them were what I was looking for. I wanted to learn jazz! So I asked Richard [could he find me a bass teacher] and it turned out to be Keter, who had never taught before and was willing to give it a try. Keter was working with Charlie Byrd often in those days. We are talking around 1968. According to Richard (Keter told him this) when I first met Keter I said to him ‘I want to be just like you....but even better!’ He was the first person to really teach me how to play the bass properly. We used the Simandl book and he taught me the proper way to play German style bow. Later on I went to Peabody Conservatory but without his teaching me the basics, I never would have passed the audition. For years after I had stopped taking lessons from him, I would see him at his gigs and he would always ask me how my parents were doing. [My parents] would always take me to the lessons with him and [later] we all would go see him play when he was in town. He never forgot them and was always kind to ask.” O Jeff Cooper , B9D, ->5 >4 $D9?>< *85D5, -?<6 *@ C5>D5 6? D85 &56?=9>7 AD
More Quotes:
“I’m grateful to have been an inspiration to him, as he has been an inspiration to countless others. He’s #1 in my book.” O P*85 E475Q O #9D?> “All I can say is thank God for Keter Betts.” O C<; *5I
“As far as bass players, he has no peers.” O E>9? #>5
“He is a superior support artist—he moves everything up a notch.” O ?5 -9<<9= A?;, ; 5? - =;@ >;9 B-?? %-> 9--5. I - @ ; @45? 5? - 4;?@ - >-@ ; >;9 @>G? 5
“…a real turning point for me occurred one night in Boston back when I was working with Dinah [Washington]. After our gig, I went to see Slam Stewart; the entire Boston Symphony bass section was sitting up front trying to figure out how the hell the guy could take a Kay bass and a Kay bow and get that kind of sound! That’s when I realized you have to hear the sound in your mind first, and only then can you make it come out of your instrument. The great ones come through their instrument; they don’t play into it—they play out of it. I always tell my students that when you make yourself one with the bass, you’re not playing the instrument—you’re playing yourself.” O !5D5 B5DD
Announcing the Sixth Biennial International Society of Bassists Makers’ Competition for Double Basses I ;6@5; 5@4 @4 2013 I'B C;@5; & ED455@;>?G F-5> June 2-3, 2013, Eastman School of Music. Over 1,000 convention attendees from 34 countries in 2011. C;9<@5@5; 55? <;?@ -@ .5?;>;5.;9/;9<@5@5;?/@45>.4@9. International Society of Bassists 14070 Proton Rd., Suite 100 LB 9 Dallas, TX 75244 972/233-9107 ext. 204 • Fax 972/490-4219 [email protected] A@@<9D9?> 454<9>5 9 #I 2, 2013
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International Society of Bassists
In Search of Nino Rota and his Divertimento for Double Bass of 1973 By Alexandre Ritter
DIE(*I#E$*% C%$CE(*A$*E &E( C%$*(ABBA))% E %(CHE)*(A BY NINO ROTA: A SUCCESSFUL COLPART I LABORATION BETWEEN COMPOSER AND PERFORMER. Here you will find Part I of a two-part article presenting some (I:@>;0A/@5;: - %A><;? ;2 @4 '@A0E H5?@;>5/8 B/73>;A:0 - Simplified of the main findings of my research pro ject. The reader will also find that my Higher Technique) entire dissertation is now presented at the %><9>5 ?>1< ?6 B1 (55138-%B( . In February of 1994, during my bachelor’s degree at the University of Georgia (UGA-USA), I met for the first time the Introduction double bass soloist, pedagogue and conductor Maestro Franco Petracchi. Since Between 1967 and 1971, Nino Rota that time, I had the opportunity to be in (1911 - 1979) composed the D959=5>? contact with him in many instances. In C?>351>5 @5 C?>1221? 5 %3851 in honor of the legendary dou2001, I decided to bring him to Brazil to participate in a Double Bass symposium as ble bass soloist, pedagogue and conductor the guest of honor. During his solo recital, Franco Petracchi (b. 1937). This he asked me to translate to the public about D959=5>? is a four-movement work this story on Nino Rota and his with the movement titles, I- A<<57?, II D959=5>? for double bass, which he #1391, III-A91 and IV-F9>1<5 . The entire was about to play. Petracchi explained to piece is approximately twenty-four minthe public and gave unique details on how utes in length, and it holds an important this piece was conceived and developed. position in the 20 th-century solo repertoire At the end of that recital I thought to for double bass. myself “all this information is too imporThe D959=5>? is a significant examtant—bass players should know these ple of effective collaboration between unique and relevant historical facts.” composer and performer. From 1950 to Then, in 2006, during my Masters degree 1977 Rota was the director of the Bari at the University of British Columbia Conservatory in Italy. Within that same (UBC-CANADA), I wrote a term paper for period, Petracchi also worked at the cona bibliography class I was taking, choosing servatory as the primary double bass proas the main subject the Rota story that fessor. The #1391 was the first movePetracchi had exposed to the public on that ment to be composed; Rota began it during recital in Brazil. Consequently, right after the 1967 academic year. Petracchi recalls I finished that term paper, my “boiling the circumstances: “First, he [Rota] wrote brain” started wondering and questioning the #1391 thinking of it as a piece by about many details that arose from that itself for double bass and piano. It was research project. In addition, my great dedicated to the double bass class; in fact love for the piece fiercely drove me to the piece had some elements of the instruwork on the subject restlessly. Therefore, ment’s technique (scales, exercises, etc).” I decided to dive into the subject, and in Over the next four years (from 1967 to May of 2010 I finished my DMA degree at 1971), the composer decided to add three the UGA with a Dissertation entitled additional movements. FRANCO PETRACCHI AND THE During these same years, Petracchi was
developing the technical concepts and exercises that were essential to his pedagogy for the double bass. Some years later, in 1982, the results of the work were published as a book, entitled )9=@<96954 H9785 *538>95. In Part II of this article, it will be shown how Petracchi’s pedagogy for bass (which was developed long before the book was published) might have been an important specific influence on the composition of the D959=5>?. The next movement composed after the #1391 was the A91, which was completed in 1968. In this movement , Rota gives the performer the opportunity to explore the lyrical phrasing possibilities that the instrument offers. The next movement to be composed was the F9>1<5 , an A<<57? =131? (1969), in which Rota explores virtuosity for the double bass, showcasing Petracchi’s particular technical abilities throughout. Last of all, a first-movement A<<57? was composed in 1971. According to Petracchi, Rota did not give the development of the first movement to him until two days before the D959 =5>? ’s first performance with orchestra. The performer recalls: “In 1971 there was the premiere in Napoli with the Orchestra Scarlatti of the Rai, conducted by P.L. Urbini, and, as it was common, the Maestro gave me the development of the first movement two days before the concert.” Thereafter, in 1973, the D959=5>? was published by Carisch (now owned by Ricordi) as a four-movement work for double bass and orchestra, together with a reduction for piano.
Purpose of the Study The unique circumstances of the collaboration between Petracchi and Rota deserved a special study. Therefore, I decided to investigate the collaboration between composer and performer, giving Volume 35, Number 3
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particular attention to how this collaboration affected the compositional history, the style, and the specific technical challenges that are found in the D95B9=5>?. Two aspects of the collaboration warranted particular attention. First, it was useful to investigate how the technical demands of the piece compare with the concepts and exercises found in Petracchi’s method for the double bass, H9785B *538>9E5. Secondly, it was essential to investigate a further collaboration between the composer and performer after the publication of the D95B9=5>? in 1973, which resulted in a significantly different second version of the D95B9=5>?. To date, this second version has not been published but it remains the preferred version for Petracchi. In sum, the main research questions were these: 1) When, and in what circumstances did Rota write the D95B9=5>?? 2) What are Petracchi’s musical and technical characteristics that might have influenced Rota’s D95B9=5>?? 3) What aspects of the book H9785B *538>9E5 might have influenced Rota’s D95B9=5>?? 4) What are the changes made to the D95B9=5>? after the publication in 1973, and in what circumstances were they made?
Historical Background Much of the material presented here has been taken from the 2008 interview between myself and the performer, which is a valuable source for the genesis of both the D95B9=5>? and H9785B *538>9E5. Like the interview itself, the discussion will proceed according to the chronology by which the four movements of the work were composed, i.e., #1B391, AB91, F9>1<5 , and A<<57B? respectively. According to Petracchi, the D95B9=5>? “was born” as a result of his request to Rota to write a single piece for bass and piano in 1967. At that point in time, Petracchi had just been invited to teach at the Bari conservatory, while Rota was its director. The performer recalls: “I [Petracchi] accepted and could not miss the opportunity to ask him to write some music for my instrument.” Petracchi explained that Rota had his office underneath his classroom and that Rota could hear the content of Petracchi’s lessons. The #1B391 was composed as an exercise for the double bass class, designed to challenge the student with specific techniques. Petracchi stressed Rota’s intention with the #1B391: This #1B391 contained numerous exercises that I used to give to my students, a kind of training music, realized in living music to “make them [the exercises] more enjoyable,” as he [Rota] said. In fact his studio and his sitting room were situated right below my classroom. It certainly was not enjoyable for the Maestro to rest at certain times with that “concert of scales.” The tempo marking assigned to the #1B391 reflects the collaborative decision made between Petracchi and Rota. In the interview, Petracchi recalled that “he [Rota] made a point of telling me that the time must be 1<<57B1=5>5 , like when children leave school, not when they enter. We estimated that a quarter-note at 132/138 could be optimal.” In 1968, the AB91 was composed. According to Petracchi, when the prominent Italian critic and musicologist Fedele D’Amico heard the AB91 performed in Rome, he declared after the concert that this AB91 was one of the best Italian pieces written in the last
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International Society of Bassists
50 years. In his recollection, Petracchi claims that the music for the AB91 owes its existence to Rota’s concurrent project of composing music for the famous film D?3?B 08917?: It’s important to clarify that this music ( AB91) was originally written as the motif of the film D?3?B 08917?. Due to disagreements with the production, he withdrew (the beautiful score was then written by Lai with “Lara’s Theme”) and to our great satisfaction, Rota’s theme was “redirected” to the double bass. In an early conversation about it, Rota revealed to Petracchi that he had already formed a clear idea of where the music of this AB91 would be used in the soundtrack for D?3?B 08917?. According to Petracchi, “For the interpretation, he told me that I should think of a slow march of Russian exiles heading toward Siberia [at RN 4] at night and then, bit by bit, <5>1=5>5 and with 1=@95JJ1 , at the unfolding of dawn (like Respighi’s I &9>9 49 (?=1).” The F9>1<5 was the third movement composed and dates from 1969. Inititally, Rota had thought of it as a 71? was published in 1973, however, Rota had decided to call it F9>1<5 . When this F9>1<5 and the earlier two movements had been scored for double bass and piano, Petracchi asked Rota about another stage of work: “After the finale ( 71B11 and then passed to rehearsal number 10 of the cadenza, practically missing the development. He said that I was right. “I’ll take care of it. How demanding you are!” In fact, he took care of it, but only two days before the first performance held in Napoli in 1971. Based on his interactions with the composer during and just after the composition of the A<<57B?, Petracchi has argued against using the 5=@9 that appear in the published edition: I have had the chance to hear several recordings of this divertimento, but not one renders the thought of the composer, truly an interpretative loss…on my own score, which I also distribute to my students, there are numerous expres-
sive, dynamic, and metronome markings that are fruit of my time with Rota at the piano. At the same time that Rota was composing the D9F5B9=5>?, Petracchi was introducing the ideas that he would later publish in 9=@<9695 H9785B *58>9A5 into his teaching at the Conservatory. In the article “Left Hand High,” Peter Buckoke claimed that he had been exposed to the basic concepts of H9785B *58>9A5 before 1973, even though the book was not published until 1982: I was lucky to find my way onto Franco Petracchi’s summer course in Vicenza, northern Italy. He introduced me to his daily exercises, which were unpublished at the time, but are now available from Yorke Edition. … I have worked with his exercises continuously over the last 30 years… Petracchi was quite specific as to his purpose for transforming his pedagogy into a published method; he stressed the fact that he took ideas from the technique of other instruments, such as the piano: At the time, I suggested to my students exercises to improve their performance to facilitate their study; some I created, and others I took from other instruments. In that period, the 1950s, there was no school of thought regarding technique. I found inspiration in piano technique, the same methodology, a double bass fingered horizontally instead of vertically. My own students encouraged me to publish these “notes” in order to avoid writing them with some occasional notes [in class].
from other methods, borrowing examples from composers such as Billé, Caimmi, Mortari, and Selmi. Furthermore, he applied his technique to important examples from the bass repertoire, from composers such as Henze, Hindemith, Koussevitsky, Mussorgsky, Bottesini, and Fryba. Petracchi’s innovations are based on the establishment and manipulation of three different left hand positions: chromatic (B), semichromatic ( .B), and diatonic ( 9 ). All three different left hand positions make use of the thumb as the base for the hand position. The chromatic position ( B) is built on three consecutive semitones using the thumb for the first note, finger 1 (index finger) for the second note, finger 2 for the third note (middle finger), and finger 3 (ring finger) for the fourth note ( 5=@<5 1). The semichromatic position ( .B) is built on the span of a whole tone and two consecutive semitones. The whole tone is produced by the use of the thumb and finger 1, while the other two consecutive semitones are produced with fingers 2 and 3 ( 5=@<5 2). The diatonic position ( 9 ) is built on a whole tone between the thumb and the finger 1, another whole tone between the finger 1 and the
E=@<5 1. E=@<5 ?6 &5B89R chromatic 69>75B9>7 I5= (8@5B 1, @.1). C?B5I ?6 ?B;5 E99?>/?>5I <6?B, 8@://GGG.I?B;599?>.?.;/>F.8=
Simplified Higher Technique Petracchi’s 9=@<9695 H9785B *58>9A5 is a method book comprised of twenty chapters, each of E=@<5 2. E=@<5 ?6 &5B89R semi-chromatic 69>75B9>7 I5= (8@5B 1, @.1). which features some combination of one or more exerC?B5I ?6 ?B;5 E99?>/?>5I <6?B, 8@://GGG.I?B;599?>.?.;/>F.8= cises, etudes, or excerpts from solo and orchestra repertoire. For the most part, the exercises in the method are Petracchi’s original compositions and incorporate his innovative concepts of left hand technique. Petracchi achieves these innovations by using the thumb position technique in unorthodox registers and positions on the fingerboard. He also introduces different pre-set left-hand positions, all of which use the thumb as the base for the positions. Such positions were remarkably innovative at the time due to the E=@<5 3. E=@<5 ?6 &5B89R diatonic 69>75B9>7 I5= (8@5B 1, @.1). (C?B5I unusual fingerboard placements. In most methods ?6 ?B;5 E99?>/?>5I <6?B, 8@://GGG.I?B;599?>.?.;/>F.8= published before H9785B *58>9A5, the thumb is only finger 2, and a semitone between fingers 2 and 3 ( 5=@<5 3). used above the midpoint of the strings (e.g., beyond the g1 – midpoint of the G string). Petracchi, however, uses different thumb On the basis of the three basic positions presented in his positions below the midpoint of the fingerboard. method, Petracchi devised more extended positions, always using Petracchi also introduced the technique of using the thumb in the thumb as the base for the left-hand positions. Such variations order to play almost any note on the fingerboard, including such on the three basic positions are of great use in the realization of unlikely ones as an e1 or a b1 on the first string. To supplement various works in the double bass repertoire, especially for the exethe presentation of innovative ideas, he incorporated exercises cution of fast passages ( 5=@<5 4). Volume 35, Number 3
21
E=@<5 4. E=@<5 ?6 &53389R 69>759>7 55>9?> (38@5 1, @.1). C?5I ?6 ?;5 E99?>/?>5I <6?, 8@://.I?;599?>.3?.;/>.8=
For a more in depth investigation on Petracchi’s 9=@<9695 H9785 *538>95 its structure and style, I suggest the reader to turn to my dissertation at the %B. End of PART I PART II (Investigation of the Influences on the D959=5>? – Conclusion) will be presented in the next issue of B ?< .
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International Society of Bassists
BJ9<9> ?> 9 A<5>5 95 8 55> ?> 85 63<I ?6 85 +>9595 F55< ? 9? G>5 ? <-+FG, &?? A<575/BJ9< 9>35 2000. A<5>5 53595 ?8 D?3? ?6 #93< A > B385959I ?6 G5?79, I9>7 98 #9<?> <5 #399, > @5 #5R 95 85 +>959I ?6 B998 C?<=9 98 !5>>58 F95=>.
by Miloslav Jelínek
Brno, 2003
Let us now look, from several perspectives, at what the new publication of Sperger’s sonatas offers, and what was necessary to make possible the renewed performance of these pieces.
41 ?;:-@-? ; J. ". '<1>31> (:@>;0/@;:) ADA%AI$# $F HE % IA#$ %A&
In this article I will not deal with the biographical details of J. M. Sperger’s life, but I would like to draw attention to the pearls among his many works for contrabass, namely, his four newly published sonatas for contrabass and piano. Many of us may ask the question: why should we concern ourselves with his sonatas? The answer is very simple: they are the only original sonatas for contrabass up until the origin of the sonata by Czech bassist and composer Adolf Míška. Someone might object that the sonatas are written for the Viennese tuning of the contrabass (A D F# A) with the accompaniment of the viola or violoncello, so why play them in a new adaptation? This objection, however, may not be considered relevant for several reasons: -) the arrangement is made strictly according to the rules of Viennese Classicism ) the piano accompaniment and harmony is derived from the obbligato voices /) the contrabass part is adapted such that it may be performed using the contemporary solo tuning of the contrabass 0) it is better to accept a few minor compromises than abandon these pieces to their fate in a museum 1) these pieces have become accessible to a wide spectrum of performers For those who are interested in the original performance of Sperger’s pieces, or other pieces of Viennese Classicism for the contrabass, there is nothing simpler than to retune the contrabass according to the fourth-third tuning. Even works from the Baroque period are played on both original as well as modern instruments , and no one objects. It is indisputably to Prof. Klaus Trumpf’s merit that he brought these sonatas to life, thereby significantly enriching contrabass literature with pieces which are a contribution not only for listeners but, above all, for performer s. (I would remind the reader of the fact that the Sonata in E Major, in the adaptation by R. Malarice, does not proceed from any of Sperger’s contrabass sonatas.) At this point I will permit myself a small comparison. If one were to discover and publish, for instance, sonatas for the violoncello by, say, L. Boccherini, they would create a worldwide sensation. We bassists, however, are probably too modest to exhibit greater enthusiasm in this direction.
The treatment of the piano part is strictly in keeping with the original harmony, and its character reflects the compositional and pianistic techniques of Viennese Classicism. Piano technique is understandably different from string technique; therefore it was necessary to adapt certain passages according to the given situation. As we all know, repeated notes are much easier to perform on a string instrument than on a keyboard instrument. (See example 1) For this reason, repeated notes on strong beats are replaced with arpeggios, while weak beats are left unchanged, and the overall character of this passage is neither compositionally nor harmonically disrupted. Example 1 - Sonata in b minor, T 36 1st movement, mm. 62-64 Original Sperger
Trumpf – T 36
Notice that, in the latter example, the technical possibilities of the piano are exploited so that the piano part is as interesting as possible. The piano becomes an equal partner to the solo instrument, while the contrabass remains dominant. A basic contribution is the expansion of the cooperation between these two instruments. (See example 2) Similar examples may be found in meaVolume 35, Number 3
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sures 53-56, 127-136 (Sonata T 36, first movement) or measures 57-61 (Sonata T 39, first movement). One might continue enumerating several further examples. Example 2 - Sonata in b minor, T 36 1st movement, mm. 27-30
This includes, for instance, the working-out of themes. The technical possibilities of the piano make possible a thematic dialogue between the contrabass and piano and the mutual inspiration of both performers, while maintaining the accompanying line of the obbligato instrument. Themes are, of course, worked out using compositional techniques in the style of the First Viennese School. (See example 3)
Original Sperger Example 3 - Sonata in D Major, T 38 1st movement, mm. 1-4 (solo part)
Let us compare this with the working-out of the theme in the following phrase. Original Sperger, measures 53–56 Trumpf – T 36
Trumpf - T 38, measures 53–56 As mentioned above, Trumpf’s treatment of these sonatas brings new possibilities of cooperation which, given the accessibility and playability of Classical literature written for the Viennese tuning of the contrabass, were not possible until now.
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As we can see, a statement of the theme is heard in the right hand of the piano part, while the left hand takes over the function of the original obbligato instrument which, in the case of this sonata, is a viola. In the following example, the theme is worked out in a different Classical manner - the theme is presented in contrary motion. (See example 4)
Trumpf - T 36
Example 4 - Sonata in D Major, T 38 1st movement, mm. 67-70
In the following example, (see example 6), we can observe a different method of harmonic enrichment. The relatively simple accompaniment of the obbligato instrument in the original allows the double-stop passages in the solo voice to stand out which, thanks to the chordal tuning of the Viennese contrabass, creates a notable sonic effect. For harmonic enrichment, as well as for enrichment of chamber-music-style cooperation, Trumpf uses Sperger’s motive from measures 3 and 4 which is heard in the right hand of the piano accompaniment. It is necessary at this point to emphasize that this passage is also treated strictly on the basis of Sperger’s musical thoughts.
Original Sperger
Trumpf - T 38
Of course it would be possible to present a much greater number of examples, though their presentation would exceed the limits of this article. HA&"$#IC
Example 6 - Sonata in D Major, T 38 2nd movement, mm. 3-4 and 19-21 Original Sperger, measures 3–4
Original Sperger, measures 19–21
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Another fundamental contribution of Trumpf’s adaptation of these sonatas is their harmonic and thematic enrichment. This, of course, means enrichment based on the given harmony and >?D harmonic alteration, as one might perhaps erroneously surmise. Similarly, thematic working-out always follows from Sperger’s musical thoughts. One might ask the question: why should the harmony of the piano part be enriched? The answer is simple: the Viennese tuning of the contrabass, though its tone was not as resonant as the soloistic fourth tuning which we now use, had one fundamental advantage from the perspective of the sound of the instrument. The instrument, thanks to its tuning, was richer in overtones, thus the resulting sound was harmonically richer, one might say “juicier.” If we compensate for this handicap of fourth tuning by filling out the harmony in the piano, the resulting sound of contemporary tuning of the contrabass is more colorful and compact. (See example 5) Example 5 - Sonata in b minor, T 36 3rd movement, mm. 77-82 Original Sperger
Trumpf T 38, measures 19–21
Trumpf uses Sperger’s thematic material in such a way that the piano part is likewise enhanced, in the sense that a dialogue of ideas between the two participating instruments is made prominent. (See example 7) Example 7 - Sonata in b minor, T 36 1st movement, measures 88-89 and 66-69 Original Sperger, measures 88-89
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Trumpf T 36, measures 66-69
Further examples of a similar character may be found in the following sonatas: Sonata in b minor, T 36, 1 st movement: mm. 89-96, 2nd movement, mm. 21-30 and mm. 41-50 Sonata in D Major, T 38, 1 st movement: mm. 140-145, 3rd movement: mm. 17-22 Sonata in D Major, T 39, 1 st movement: mm. 140-145 3rd movement: mm. 17-22 ADA%(A(I$#
The melodic line is presented without double-stops, which are easily playable using Viennese tuning. The simplification of the contrabass part is a contribution in the sense that it enables the performer to create good tone (vibrato, intonation, etc.) and also to present the theme with precision. The lower voice of the melodic line is given to the piano. (See example 9)
Example 9, Sonata in b minor, T 36, (piano part) 2nd movement, theme
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The performance of Classical pieces using the modern tuning of the contrabass presents well-known obstacles which are not, however, insurmountable. The theme from the second movement of the Sonata in b minor is dealt with in the following manner . (See example 8)
Example 8, Sonata in b minor, T 36 2nd movement, theme Original Sperger
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Trumpf - T 36 (Solo part)
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In the following example one may compare the use of Viennese tuning of the contrabass with the use of modern tuning in technical passages. Both methods are perfectly natural for the instrument. Sperger used third-fourth tuning very effectively in this virtuoso passage. The same effect is achieved by Trumpf using fourth tuning, while preserving the original character of the passage. Naturally the passage makes use of open strings, in this case the sounding E string (that is, the harmonic e in the thumb register). This facilitates not only a natural technical approach, but also a rich palette of sound. (See example 10)
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Example 10, Sonata in D Major, T 39 1st movement, mm. 57-59 Original Sperger
going public responds to these sonatas with sincere enthusiasm. It would be a great waste if these sonatas were to lie in a museum archive, unnoticed, for another 200 years. For this reason, all those who participated in their publication deserve sincerest thanks. Brno, 2003
Miloslav Jelínek
Trumpf - T 39 List of sonatas according to the new publication:
In all of the sonatas, Klaus Trumpf preserved both the virtuoso character and the rich tone colors of the contrabass part, which are typical of Sperger’s works. All of this is achieved while maximizing use of the resonant registers of the instrument, including harmonics, in connection with the appropriate motive, phrase or virtuoso passage. (See example 11) Here, regular rhythmic motion in connection with harmonics creates the realistic effect of a musical clock.
Example 11, Sonata in D Major, T 39 3rd movement, Minuet, mm. 51-62, (solo part)
1985: Sonata in D Major for Contrabass and Piano, T 40 %B><: ?>, @B < C?>B?. / ?</ G?>> @BB ?>: D <B, !<E *BE=@ - C?>B +, > #? &E<B: FB. H?=B #E;B< "@J / 7511 1997: %B><:
Sonata in b minor for Contrabass and Piano, T 36 ?>, @B < C?>B?. / ?<> @BB, (1790) ?>: !<E *BE=@ - C?>B, &>? &E<B: FB. H?=B #E;B< "@J / 2450 1999: Sonata in D Major for Contrabass and Piano, T 39 %B><: ?>, @B < C?>B?. / ?</ G?>> @BB, (*B // DB // 1789) ?>: !<E *BE=@ - C?>B, &>? &E<B: FB. H?=B #E;B< "@J / 2689
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Sperger’s sonatas contain everything we might expect from sonatas of the Classical period. Their compositional technique is purely Classical, not only in their original version but also in the new publication with piano accompaniment, and their performance requires the absolutely precise, clean technique of both hands and the refinement of formal construction. In these works A<< =E< =@< B EB I >B>?>< ?@IB, FB. of Sperger we encounter all types of technical challenges: arpeg- H?=B #E;B<, "@J. #E< =@< B@B> gios, double-stops, harmonics, rapid scale passages, changes of @B=?> B?= FB. H?=B #E;B<. .?=register, various types of bowing, etc. Also, the range of these B-=E;B<.?= 1 works, over 4 / 2 octaves, indicates that their performance assumes a considerable technical facility. On the musical side, all four of Sperger’s sonatas require careful preparation on the part of both performers. Chamber-music-style cooperation between the contrabass and piano is an absolutely crucial precondition to an effective performance of these works. I would like to remind the reader once more that we do not have any other literature for the contrabass of this type. For this reason I believe that Sperger’s sonatas should be an integral component of the study material of all musical institutes and, first and foremost, a part of every concert artist’s repertoire, just as the Mozart sonatas are indispensable to violinists. I consider all of this definitive not only because of the unique position of these works in contrabass literature but, above all, because of the beauty of the music itself and, last but not least, for the evolution of the contrabass as a concert instrument. From personal experience I can confirm that the concert32
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Three Poems by H. Stevens Brewster, former Principal Bass of the National Symphony in Washington, DC
To a Student As I, in my best judgment Give to you of life And beauty, glory, God, So take it freely, and bruise Not the tender chain Which I have handed you (As once was handed me) But treasure it And humbly turn to give In future day to some Bright, starry-eyed Young person, who looks At you and dreams, as you Have come to me this day. Swing, Baby! Grab the pig! He’s greasy, he’s quick, And he’s yours, mister If you can grab him, and Hold him tight. He’s yours, mister If you can sling him down: Lots of men have tried And landed on their backs Or heads, or gotten trampled. Once in a while someone Will grab him, so, And really sling that pig around And then you know you’ve Met a real man! It’s your turn now, mister Go get him, if you’re willing To pay the price (‘Cause pork, like life Comes high); he’s Quick and mean and slick But he’s all yours!
Violin Box, wired For sound, coming From itself, me, From the past, through The time which is me, Changing from wood To lines of song.
&9>54 G98 @5=9CC9?> 6?= 85 B5GC5 61=9;C ? A>45G !?8>, D52?18 B5> /?CC56, 1=5C B5GC5, 1>4 &1E< )39=?>5<<9. 36
International Society of Bassists
BODY
&
BASS
Linda Gilb ert, D.M.A. , R.Y.T., Editor
The Use of Ice and/or Heat Responses to the 2009 B?4I 1>4 B1CC survey showed that 19% of bassists who participated are playing with diagnosed injuries. 77% of those playing with injuries described their conditions as chronic, 23% as acute. A percentage of these players had injuries unrelated to playing the bass. Many bassists have asked when to use heat or ice for injuries and occasional mild aches. Before addressing the situations in which to use heat or ice or both, it is important to identify what type of condition is present. Is it acute? Is it chronic? Is it mild or severe? An acute condition occurs when there is a sudden injury. It usually causes pain, sometimes severe. Swelling is usually present. Acute injuries are likely to happen away from the bass, as a result of a sudden occurrence such as a sprain or a fall. A chronic condition takes time to develop. Sensations of pain are usually, though not always, less intense than in acute situations. One may experience more of a dull soreness that is not always present and manifests in different intensities. Chronic conditions are often associated with overuse. Chronic conditions may therefore happen either with or away from the bass, or both. In all situations, whether chronic or acute, mild or painful, it is important to know whether ice or heat is appropriate to alleviate symptoms.
PHYSIOLOGICAL RESULTS OF ICE AND HEAT When used correctly, ice helps to reduce pain and inflammation. It does so by reducing swelling, slowing the response of the nerves in the area, and narrowing blood vessels. Heat, on the other hand, opens up blood vessels, increasing blood flow and circulation to an area. It helps tight muscle fibers relax and can relieve joint pain. WHEN IS IT BEST TO USE ICE OR HEAT? Depending on the cause or reason for pain, both ice and heat have the ability to reduce pain. In addition to knowing whether a condition is acute or chronic, it is important to know if the pain comes from inflammation or from other factors such as tight muscles, tendinitis, or nerve issues. Diagnosis from a medical professional can provide support and direction. For acute conditions, ice is critical, especially immediately after an injury. This will help prevent inflammation. It is important to use only ice for an acute injury, never heat. Heat will exacerbate the inflammation. By using only ice for the first day or few days, depending on the severity of the injury, one can help the injured area heal. Remember that acute conditions are usually obvious, such as
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a fall or a sprain and rarely due to playing. If you do feel a sudden, sharp pain while playing, stop playing and ice the area. Maintain body awareness when moving or lifting your bass, as well. Good posture, along with support from your lower body and abdominal muscles can help prevent sudden, sharp pain, especially in your back and shoulders. If you notice sudden, painful sensations as a result of lifting your bass, ice the area as soon as possible. For chronic conditions, there are many ways to approach the use of heat and/or ice. By its nature, a chronic condition is one that you are likely aware of. You may have been diagnosed as having a chronic condition. You may have a sense of the potential for specific aches to flare up on occasion. You may also experience symptoms of a chronic injury by feeling a subtle dull soreness that is present some or most of the time. Chronic conditions often respond quite well to rest. Be sure to give yourself time away from your instrument, computer, text messages, and other tasks that require use of the hands and fingers. Taking time away from just the instrument is often not enough to affect a positive change; using a comput-
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er still activates similar nerve and muscle pathways that need rest. A minimum of 24 hours rest is crucial. In addition to rest, chronic conditions can benefit from both ice and heat. Ice can be beneficial 6?<7 a long rehearsal or practice session if an area feels swollen, warm or slightly painful. An area prone to chronic pain due to repetitive motion issues tends to respond well to cooling down after playing or working out. Ice will help reduce the potential for inflammation. Heat can be helpful 256?B5 a long rehearsal or practice session if muscles feel tight. Never ice before playing. This will only contribute to the potential for aggravating or worsening a chronic condition. Whether heat is used or not, be sure to employ gentle stretches before playing to stay limber and mobile. For some conditions, heat is effective both before and after playing. Symptoms of arthritis can be reduced using heat: stiff joints can soften and become more mobile. Muscular aches and pains can also dissipate from the use of heat. If both swelling and muscle tightness are present after playing, both ice and heat can be used. Start with ice to reduce any potential inflammation; then follow with heat to relax the muscles and soft tissue in the area. Some people also find benefit from adding one more session of ice, following the sequence of ice ~ heat ~ ice. This will depend on what feels right for your body. It may take some experimentation on your part to find out what works best for you. Depending on the intensity and/or frequency of chronic conditions, you may utilize ice and heat in different ways. For mild or occasional conditions, the use of ice and/or heat may only be necessary once in a while. For more intense conditions, a more consistent pattern of use may be effective. Be sure to check with a medical professional, physical therapist or other bodywork professional to answer any questions you may have about ice and heat. HOW OFTEN CAN ICE AND/OR HEAT BE USED? HOW LONG CAN THEY BE APPLIED? WHAT ARE THE BEST WAYS TO APPLY ICE AND/OR HEAT?
ture of the body between icings. This will help prevent damage to the skin and soft tissue from overexposure to cold. Another thing that will help prevent damage to the skin and soft tissue is to wrap any ice pack or bag of ice in a towel before applying it to the skin. Frostbite and damage are possible if these precautions are ignored. There are a variety of beliefs and methods regarding how long to apply ice. A moderate approach to the application of ice would be to use ice for a maximum of 10 to 20 minutes at a time, keeping the ice pack wrapped in a towel. Gel ice packs are good because the intensity of the cold diminishes over time, minimizing the potential for overexposure to cold. A package of frozen peas provides similar benefit. Other methods of icing include submerging a hand or forearm in ice water for several seconds. Heat can also be used many times throughout the day. As with ice, certain precautions will prevent damage to the skin and tissue. If using a heating pad or microwave gel pack, always have a piece of clothing and/or a towel between your skin and the heat source. This will prevent damage to the area. For joint pain or other muscular aches in the hands and/or wrists, the use of a paraffin bath can be very soothing and beneficial. The hands can be dipped in the hot wax; as the wax firms, it provides deep heat to the hands. Paraffin baths are readily available. Be sure to follow all instructions on the packaging to prevent injury. The paraffin can remain on your hands for up to 15 minutes. Running the hands under very warm water, and taking a hot bath or shower are other ways of applying heat. When used safely, heat can be applied for 5 to 20 minutes at a time. Any longer creates the potential for damage to soft tissues. For this reason, do not sleep with a heating pad; a hot water bottle is a safe alternative. Be sure that the temperature of the heating pad or water is very warm but not too hot. If too hot, the effects may be counterproductive: inflammation may occur. In conclusion, seek guidance from a medical professional, physical therapist or other bodywork specialist to know the best solution for you. Ice and heat, when used correctly can provide relief to symptoms of many conditions. Be safe, healthy and well!
Ice can be used many times throughout the day. It is important to be sure that the area being iced returns to the natural tempera-
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LUTHIER’S CORNER
David Gage, Editor
Ask the Luthiers By David Gage, Arnold Schnitzer, and Jim Ham
The three luthiers of this column encourage the readers of B1CC -?<4 to pose questions regarding double bass set-up, repair, maintenance, care, restoration, design, construction, or whatever else is on your mind, from weather to wolf tones and from scrolls to saddles. Please send questions to [email protected]. Selected questions will be answered by the luthiers of this column in a future issue of B1CC -?<4 . Also in this issue’s column, the luthiers will be offering quick luthier tips in the “New Thoughts From the Glue Pot” section at the end of the column. Currently, the luthiers of this column consist of Jim Ham (JH), Arnold Schnitzer (A'), and A 5@5C5>19?> ?6 85 714E19?> ?6 1 21CC ?@. *89C 9C >? 1> 13E1< 714E19?> 2E 1 C9=@<969319?> ? =?5 3<5135@ ?6 85 ?@ 714E19?>: 759>7 89>>5 ?14 85 @59=55, David Gage (DG) (Lead Columnist). +@ 5 9@ .E @ @>9 >-3>0@5;? I 5@ 3;;0 ;> .0 @53? DG: There are many different theories on top plate graduation and re-graduation. It is generally agreed that the middle of the top plate, between the f-holes should be the thickest section, with the graduation getting thinner at the periphery, especially toward the top and bottom of the plate. (See a sample top plate graduation in the picture that accompanies this article.) The difference in these thicknesses many vary from 8 mm in a typical German bass to 2 mm in an American Prescott string bass that has what we call a flat graduation. Carving a successful graduation is, in my opinion, where the art of making should govern the technician’s approach. There is more than one way to successfully graduate the top of a bass made of exactly the same wood! Acoustical physicists have done much research on what makes a fine instrument sound so good, and to this day no one has come up with a definitive answer— the reason: too many variables. That’s not to say that these scientific efforts haven’t and won’t give us hard evidence, inclinations, and properties that will help guide us. The art of plate graduation is still most successfully done by experienced artists who are able to “sense” by tapping and feeling both the density and the flex of the wood. The arching of the top should be taken into account when planning the top graduation. For example, the greater the arch, the more energy it will take to vibrate it, so perhaps the maker will decide to have a thinner graduation to allow greater flexibility and more movement. Although the string bass is essentially symmetrical in appearance, the graduation should
893;5C 9> 85 =944<5 855 85 29475 1>4 C?E>4 @?C 15 I 496655> 85?95C ?> C@539693C ?6 ?@ 714E19?>. (&8?? 3?E5CI ?6 D1F94 G175)
not be symmetrical. Stradivari discovered long ago that desired plate flexibility can be better achieved through graduation asymmetry. Through this premise came the bass bar on one side and the sound post on the other. The acoustical physicists realize that this asymmetry reinforces the primary motion of the bridge: rocking from side to side. Any re-graduation should be done as a last resort, after other, less invasive adjustments have been tried. In general, any re-graduation that we have done at our shop has been the subtraction of wood from an overbuilt “factory” bass or adding wood to an older over“repaired,” individually made bass. In this case we always use hide glue to glue in our new 893;>5CC9>7 wood patches. Done properly, a re-graduation can produce great results. Sometimes people practice the deceptive act of “hot wiring” or over-thinning a top so that the instrument will be much louder than before (easier to sell). I n doing this, however, it will sag or collapse from the string pressure later on. A': Re-graduation refers to changing the thicknesses of a string instrument’s parts. Most commonly, the top plate is the object of re-graduation. Sometimes the back plate is also re-graduated, and occasionally the ribs and linings (the strips which run around the instrument’s perimeter to help keep the plates attached to the rib assembly). Some basses, especially those turned out quickly in a factory environment, were built with overly thick or haphazardlygraduated vibrating plates. Ideally, the center is the thickest area, and the plate thins
out toward the edges. Some makers graduated their top plates to be nearly uniform, but this is unusual in bass making. Every piece of wood is different, and several factors have to be taken into account when performing a re-graduation: the density and strength of the wood, the existing thicknesses, the quality of the instrument, the condition of the arching, and the likelihood of tonal improvement. Much care must be taken to make sure that the resulting thickness will not contribute to deformation of the parts. Not all re-graduations involve only removing wood; sometimes a top or back plate needs to be made thicker. For example, a few years ago I added wood to the center of a bass top I had made about ten years previously. The owner of the bass wanted a more defined and even sound, with less of a wolf tone presence. The spruce of the top plate was very soft and flexible, and I had originally graduated the top to normal specs. In retrospect, I should have originally carved it thicker; adding strength to the center had the desired effect. When considering re-graduation, respect should be paid to the original maker if it is a handmade instrument. Re-graduating a fine bass should be a last resort to be used only if it does not respond to less invasive measures. But for many basses re-graduation can be just what the doctor ordered. JH: This year (2012) marks my 40 th year in the craft/business of stringed instruments, mostly of the violin family. That doesn’t make me an expert, but by now I’ve sure got some opinions! Volume 35, Number 3
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If you look at the instruments played in a top tier symphony orchestra, you’ll likely see that most of the wind, brass and percussion instruments are new ones because they’re the best and most of the stringed instruments are old because players think they’re the best. Maybe they are, maybe not, but if there’s something about old instruments that makes them superior, it seems like you would want to conserve whatever that is. Wood certainly changes as it ages, and if you like the sound of old instruments, the old wood is probably vital to that sound. The stringed instrument family is unique in that antique instruments are prized not only as art/historical objects but as tools for daily use by musicians. These two aspects of their value are often in conflict. Almost all antique instruments in use today have been modified, both unintentionally by wear or damage and intentionally to suit conventions of the day or the needs or opinions of particular players or luthiers. These intentional modifications are not necessarily limited to fitting of modern necks, fingerboards, C extensions etc. Wood is often added to the interior of the instrument in the form of patches or cleats for reinforcement of repairs. More controversially, wood is sometimes removed from the inside in the belief that the tone will be improved; this process is known as “re-graduation.” When an old instrument is re-graduated, a luthier planes, scrapes or sands wood away
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from the inside of the front, back or ribs to reduce the thickness according to the acoustic concept of the person doing it (or the person paying for it). The result is that weight will be reduced and flexibility will be increased and the player may like the resulting change of sound . . . . . or may not. Also, the structural ability of the instrument to withstand the tension of the strings will be reduced. Obviously, wood cannot be added by this process—only removed. If the player doesn’t like the result or the instrument cracks or distorts because it’s now too thin, the only way to put wood back in is by adding patches or braces. This means you are replacing original old wood (and isn’t that the essence of what an old instrument is?) with non-original new wood plus glue. The working assumption of anyone who re-graduates an instrument must be that he knows more about how the instrument should have been made than the person who made it. If so, why doesn’t he just make a new instrument? Of course there’s more to the issue than this; not all old instruments are works of art made by fine makers. Many are commercial instruments made in factories with little consideration given to the fine points of acoustics. It may be reasonable to modify these for current needs, but remember, if you don’t like the change, you can’t put the old wood back. For another perspective on this issue I would rec-
ommend Roger Hargrave’s article “Pry Before You Buy” in the December 2011 issue of *85 )DB14 magazine. Well that’s my regraduation rant; now I feel much better! (;3@? >;9 @1 381 <;@: A': Bass players who fix their own open seams can cause damage if they use glue that is overly strong. Basses are proportionally thin compared to the other instruments of the violin family, and there are great stresses on the vibrating plates and ribs. Relatively weak glue should be used in the seams, especially where the top meets the ribs. This will usually allow the seam to re-open if it is stressed; an open seam is much less of a problem than a new crack. DG: Where is the rub? Sometimes we want things to slide with as little friction as possible, i.e. strings over the bridge and nut. Other times we want things to stay put and not slide around, i.e. bridge feet on the top of the bass. Use a #2 pencil to apply graphite in the notches of the bridge and nut to allow for longer string life and to minimize any pulling forward of the bridge top while tuning up. Rub a little bit of very fine powdered rosin on the bottom of the bridge feet to keep the feet from sliding around on the top. Be sure that there is no caking or buildup of this rosin, as that will change the fit of the feet on the top.
Why The International Johann Matthias Sperger Society? research has been done on the life of Sperger. Dr. Adolf Meier and Dr. ADVERTISEMENT: May 13, 2012 is the 200th anniversary of the Josef Focht are currently doing more extensive work. But now it is up death of Johann Matthias Sperger, giving us an occasion to remember a double bassist and composer who was so important to the history of our to us to draw attention to the music of this composer, who was the first instrument. The International Johann Matthias Sperger Society was in a series of important figures in the history of the double bass. The diversity of his musical works bears witness to an exceptionally founded in Germany in 2000 and now includes as its members many creative personality. In addition to many works for different instruinternationally renowned bassists. In that same year we saw the estabmentations, there are 45 symphonies, many concertos for various lishment of the International Johann Matthias Sperger Double Bass Competition, which is under the patronage of Zubin Mehta, Anne- instruments and a considerable number of chamber works. Among Sophie Mutter, and Nikolaus Harnoncourt. The next competition will be these we find the “Arrival” Symphony, written as a conscious counterheld September 16-23, 2012, the seventh meeting since its inauguration. part to Haydn’s “Farewell” Symphony, and the “Sinfonia Concertante What do we know about Johann Matthias Sperger, undoubtedly the for Flute, Viola, solo Double Bass and Orchestra” dedicated to the King of Prussia (a musician himself), before whom Sperger performed many greatest bassist of the 18th century and the acknowledged leading bassist of the German school? What do we know about Sperger the times. His four sonatas for double bass are the earliest works in this composer, or Sperger the man? What can we say about his historical genre and show an incredible wealth of musical ideas (Hofmeister role in the development of the double bass and his place in the history Musikverlag). The discovery of his Concerto for Double Bass and of music? For too long his double bass compositions were ignored in Orchestra, No. 15 gives us the most musically valuable concertos from the Viennese Classical period. a library’s collection, yet in this collection was also found nearly the As a virtuosic equal of Giovanni Bottesini and a composer superior entire concerto literature for the solo double bass from the Viennese to Domenico Dragonetti, Sperger comes to us as a German composer Classical period. of the Viennese Classical period with the most extensive catalog of douWith his virtuosic skills and extensive concertizing, what influence ble bass works in history. did he and his compositions have on his contemporaries? How do we On the occasion of his death, Mozart’s Requiem was performed in see these influences in the performing practices and compositions of his honor, an honor afforded only to a few musicians in history. today? Has he been duly recognized for his role in the development and The ISG (International Sperger Society) honors the life, work and extensive use of the Viennese tuning of the double bass? total person of Johann Sperger (from his personal signature ?81>> Sperger was born on March 23, 1750 in Feldberg, Lower Austria. to his compositional signature G9?F1>>9 )@5B75B). #1DD891C )@5B75B His work in Ludwigslust, for nearly 25 years until his death in 1812, The ISG has presented the International Johann Matthias Sperger brought him recognition as one of the most prominent and significant Double Bass Competition since 2000, which has provided a necessary musicians in northern Germany. Do we know that listeners were and important foundation as an incentive for our followers. amazed at his virtuosity? Do we appreciate that his compositions are unique in setting the standards for our instrument? Sperger’s life story is an interesting look into an 18th-century musi- A: 5:@1>1?@5: 8521 @; 1D<8;>1, B881 C;>7 C5@5: @; 1 05?/;B1>10! cian’s career, which earned him recognition from his peers and the - 8? (>9<2, *B1>C<1D9?>: ,9>35>D %C2?B> highest respect from his employers. Until recently only sporadic CCC.?<1>1>C1@@1C1>.01
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INTER NATIONAL BASS CL UB DIRE CTORY Felix Petit ACADEMIA NACIONAL DE CONTRABAJISTAS Conservatorio de Musica Simon Bolivar El Paraiso, Caracas 1010 Venezuela Tel/fax +212-481-1441 [email protected] Esra Gul Atalay ANADOLU BASS CLUB Anadolu University State Conservatory Eskisehir, Turkey 26470 +222 335 05 80/ 6228 Fax +222 335 31 04 e-mail:[email protected] www.bassclub.anadolu.edu.tr ARIZONA BASS PLAYERS, INC. 5140 W. Trails End Rd. Tucson, AZ 85745 [email protected] www.arizonabassplayers.org Thierry Barbe ASSOCIATION DES BASSISTS ET CONTREBASSISTE DE FRANCE 22 rue de Champagne 94700 Maisons-Alfort, France www.contrebasse.com ASSOCIATION OF RUSSIAN DOUBLEBASS PLAYERS http://contrabas.borda.ru/ Sonia Ray ASSOCIACAO BRASILEIRA DE CONTRABAIXISTAS Escola de Musica e Artes Cenicas da UFG Campus II - Samambaia - Sala 205 Gaiania, GO, Brazil 74.001-970 +55-62-9249.0911 [email protected] www.soniaray.com Mark Bernat BASS CLUB OF GEORGIA P.O. Box 49045 Atlanta, GA 30359 [email protected] Alana Dawes, President Katie McLachlan, Contact/Secretary BASSLINK AUSTRALIA PO Box 130 Belair, South Australia 5052 +61 88278 2016 [email protected] David Heyes BRITISH & INTERNATIONAL DOUBLE BASS FORUM P.O. Box 151 Aldershot, Hants GU12 7YQ United Kingdom [email protected] Petya Bagovska BULGARIAN BASS CLUB Hipodroma Bl. 140, A, 12 Flat Sofia BUG-1612 Bulgaria +359/88-753-358 [email protected] www.bagovska.com/bass
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International Society of Bassists
Sandra Grigorova-Bojkova BULGARIAN DOUBLE BASS ASSOCIATION 64 Rodopski Izvor Street, At. 22 Sofia, Bulgaria 1618 [email protected] Wei Bao Zheng CHINESE SOCIETY OF BASSISTS Flat 504, No. 7 Fuxingmen South St. Beijing 100045, China Tel/Fax +86 09 79 92 [email protected] Miloslav Jelinek CZECH SOCIETY OF BASSISTS Komenskeho nam. 8 602 00 Brno Czech Republic +420 5 43 24 28 05 [email protected] www.volny.cz/spol-kontrabas Ture Damhus Andreas Bennetzen, Chair DANISH DOUBLE BASS SOCIETY Livjaegergade 43, st. tv. Koebenhavn OE 2100 Denmark +45 35 26 49 83 Fax +45 44 42 42 33 [email protected] www.bass-society.dk David Murray INDIANA BASS CLUB Butler University - Music Dept. 4600 Sunset Indianapolis, IN 46220 [email protected] Eila Saikkonen FINNISH SOCIETY OF BASSISTS Vanha Viertotie 21/219 Helsinki, Finland 00350 email: [email protected] internet: www.kontrabassoklubi.fi
Chang-ho Kim, President KOREAN KONTRABASS ASSOCIATION P.O. Box 434, Seocho-Gu,137-604 Seoul, Korea +82-16-726-3721 [email protected] [email protected] www.kontrabass.com Nobuaki Saikawa KYUSHU BASS CLUB 2-23-24 Tsutsumi Jonan, Fukuoka 814-0151 Japan Tel/fax +81-92-873-7355 [email protected] Zoran Pavloski MACEDONIAN DOUBLE BASS ASSOCIATION ul. Naroden front 5-1-13 Skopje, 1000 Macedonia tel +38 970 388 284 [email protected] Peter Tambroni THE MANNHEIM BASS CLUB Westdale Elementary School Mannheim School District #83 99 W. Diversey Ave Northlake, IL 60164 [email protected] MID-ATLANTIC BASS ALLIANCE c/o Dr. Donovan Stokes Shenandoah University - Conservatory 1460 University Drive Winchester, VA 22601 540.869.3253 [email protected] www.donovanstokes.com/bassalliance
John Davis THE GINORMOUS INSTRUMENT BASS CLUB
2207 Village Ln. Salina, KS 67401 [email protected] Stephen Yam, President HONG KONG DOUBLE BASS SOCIETY 5/F, Grand Court 43A Grampian Road Kowloon City, Hong Kong [email protected] Cheryl Ann Brent HOUSTON BASS CLUB c/o Rice University Shepherd School of Music 6100 S. Main St. MS 5321 Houston TX 77005-1892 Karoly Saru, President HUNGARIAN BASSISTS SOCIETY Koppány Márton u.42 Solymar, Hungary H-2083 +36 26362664 [email protected] Klaus Trumpf INTERNATIONAL SPERGER SOCIETY Meistersingerstr.7 Germany D-14471 Potsdam Tel./Fax.: +49-331-9512556 or +49-171-9154-924 [email protected] www.spergerwettbewerb.de www.spergergesellschaft.de
Jim Ferguson NASHVILLE BASS CLUB 210 Mayfair Rd. Nashville, TN 37205 615/297-7453 Fax 615/463-8747 [email protected] Barry Green NORTHERN CALIFORNIA BASS CLUB 430 Crestridge Pl. Santa Rosa CA 95409 [email protected] www.innergameofmusic.com Irena Olkiewicz POLISH DOUBLE BASS SOCIETY Ul.Kard. St. Wyszynskiego nr 107 m. 4 50-307 Wroclaw, Poland Tele/fax +48 71 322 03 33 [email protected] www.doublebass.vel.pl Florian Pertzborn PORTUGUESE DOUBLEBASS SOCIETY Escola Superior de Musica e das Artes Rua de Alegria 504 Oporto 4000 Portugal +351 2 580774 Fax +351 1 528513 [email protected]
RICHARD DAVIS FOUNDATION FOR YOUNG BASSISTS, INC. 902 West Shore Dr. Madison, WI 53715 608/255-6666 Fax 608/255-5524 [email protected] www.globaldialog.com/~rdavis Paul Erhard ROCKY MOUNTAIN BASS CLUB 3655 Emerson Ave. Boulder CO 80303 303/492-4918 Fax 303/492-5619 Ken Hustad SAN LUIS OBISPO BASS CLUB 991 Ridgeway St. Morro Bay, CA 93442 805/772-1477 www.bassist.com/bassi.htm David Humphrey SASKATCHEWAN BASS CLUB 418 Isabella Street East Saskatoon, SK S7J 0B7 Canada Jennifer Sharp SCOTTISH BASS TRUST 6 West Garleton Haddington EH41 3SL Tele/fax +44 1620 82 25 32 [email protected] Martin Simpson SOUTH AFRICAN BASS CLUB PO Box 785189 Sandton, South Africa 2146 [email protected] www.Bassplayers.co.za Josep Quer Agusti, President Mrs. Matias Lopez, General Manager SPANISH DOUBLE BASS SOCIETY TC/Montgò nº 1- 2º-3ª Figueres, Spain 17600 [email protected] Caroline Emery THE BASS CLUB 7 St Clair Drive, Worcester Park, Surrey, KT4 8UG, UK +44 (0) 208-330-3188 [email protected] www.bassclub.org.uk John & Marian Casey TWIN CITIES BASS CLUB 9211 45th Avenue North New Hope, MN 55428 www.TwinCitiesBassclub.org Lynn Lovell, President WESTERN NEW ENGLAND DOUBLE BASS SOCIETY c/o Downtown Sounds 21 Pleasant St. Northampton, MA 01060 413/247-0024 [email protected] www.wnedbs.org
If you have formed a new club or want to be included in our directory, send information to ISB, 14070 Proton Road, Suite 100, Dallas, TX 75244 fax 972-490-4219, [email protected].
BASS
CLUBS
Jennifer Sharp, Editor
A Spontaneous Bass Club in Nebraska
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I>R 9 751 81 $521;1 81 1;5> @ 85 381<<5>75 1>4 ( 6) 31<<54 95<6 1 21 3<2? IR 74 ;> 81 855 15 < 6 855, 49>7 < 6 9>559>7 89>7 ;55@ 85 21 695 2>9>7. A>4 85> 9 81@@5>, 5 8<4 815 9. B1 G1859>7 15 1<< 12 819>7, @1>589@, 1>4 6 35, 3>1>< <51>9>7. &<515 5>4 5@ 9>6=19> 12 5F5> 81@@5>9>7 9> 151, 8585 @>1>5 @<1>>54. &581@ 5 8<4 5>1=5 89 3<=> B1 G1859>7, 8 5=F9>7 85 @5359F54 6=1<9 6 1 3<2, 85> =5 6 =978 25 5>31754 3==>9315. / @9>9> 15, 1 5F5, = 5<3=5. -----5>>965 81@ By Jeremy C. Baguyos
Bass clubs provide an enhanced environment for bassists to perform and teach their craft. As I have learned from my role as Editor of B1 <4 , the problem is that bassists are necessarily busy folks. The idea of a formalized organizational mechanism requiring administrative overhead like officers, by-laws, and regularly scheduled meetings and events does require time that many bassists may be unable to commit. One solution is the spontaneous bass club model. Since 2009, a very loose and admittedly disorganized consortium of bassists in Eastern Nebraska, has been putting together well-attended bass-centered events by pooling their access to institutional resources and their network of colleagues
and students. The first such event was the Edgar Meyer Nebraska Bass Day held in April of 2009. The Omaha Symphony brought in Edgar Meyer to perform two concertos with the Omaha Symphony. Bill Ritchie (Assistant Principal Bassist, Omaha Symphony), Michael Swartz (Section Bassist, Omaha Symphony/Lincoln Symphony), Rusty White (Professor, University of Nebraska Lincoln), and I (Assistant Professor, University of Nebraska Omaha), took it upon ourselves to corral our students and our professional colleagues (and their students) to committing a block of time on the Saturday afternoon of Edgar’s week in Omaha. Also, anyone that had access to institutional resources set the wheels in motion, as well, so the event garnered institutional support from KC Strings, Lincoln Public Schools, and the University of Nebraska Omaha, along with the most obvious sponsor, the Omaha Symphony. With everyone pitching in, and with the organizational focal point centering on the organizations that employed the bassists organizing the event, this loose consortium of bassists was able to leverage Edgar Meyer’s visit into a transformative and well-attended event with heightened press coverage. The best part was things simply fell into place without too much administrative overhead, and the Edgar Meyer Nebraska Bass Day went on without a hitch. The Edgar Meyer Nebraska Bass Day was held at the Strauss Performing Arts Center on the campus of University of Nebraska Omaha. The main event of
Nebraska Bass Day was a master class by Edgar Meyer. A variety of other bass-related activities were offered all day including additional master classes and concerts, bass ensembles, and a showing of fine double basses by luthier Anton Krutz of KC Strings. Omaha Symphony bassists Will Clifton, Bill Ritchie, James Giles, and Mike Swartz and University of Nebraska double bass professors Rusty White (Lincoln) and Jeremy Baguyos (Omaha) provided additional classes and direction of bass ensembles. In the evening at the Holland Performing Arts Center in downtown Omaha, Edgar Meyer performed two concertos with the Omaha Symphony. In the Nebraska Bass Society’s most recent event, a similar spontaneous approach was used when Will Clifton, performed David Anderson’s Concerto for Double Bass, Strings, and Harp in October of 2011. Will Clifton’s performance with the Omaha Symphony Chamber Orchestra was the centerpiece of the event and Dave Anderson, present as a guest of honor, was tapped to give a master class along with Hans Sturm, the new bass and jazz studies professor at the Lincoln campus of the University of Nebraska. In the evening, Will Clifton performed the Anderson Concerto at the Strauss Performing Arts Center on the campus of the University of Nebraska Omaha. Again, it was the individual bassists themselves who live in Eastern Nebraska that drove the event by corralling their students and colleagues to attend and whatever institutional support they could muster so that the event may happen. It is also very easy to do when everybody knows each other, works together in various musical capacities, are friends, and have a common goal in mind, bass! Things just worked out organically. The Nebraska Bass Society didn’t set out to discover this approach. It just kind of happened. . . . . spontaneously.
Volume 35, Number 3
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46
International Society of Bassists
HOT
SHOTS
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Gaelen McCormick, Section Bass, Rochester Philharmonic Orchestra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
Jeff Turner, Edit or
+>F. My preparation for this audition was very unusual in that I’d been dealing with tendonitis for a few months and was unable to play my instrument while recovering and going through physical therapy. Once I’d gotten enough strength back to practice up to forty minutes a day, I had to really focus on what I wanted to accomplish in that short window of time. I did a fair amount of mental practicing, and worked with the metronome, singing and mentally playing through my excerpts. In the past, I’ve done a lot more experimenting with sound, tempos, and interpretation as I lead up to the audition. But this time, with such limited practice, I had to commit to what I wanted to say as a musician—about the excerpts, about my instrument’s sound, about my interpretation. And I had to do it on the first try when I was practicing.
anxiety of listening to all the other players warming up (and sounding great!). The biggest change in the way I prepared is that I stopped worrying what the committee might think of me. I flipped the focus to come from me, what phrasing I’m using, what kind of stroke and sound, etc. I still played for colleagues and listened to their feedback, but I wasn’t seeking their approval. That mindset helped to release a lot of anxiety and nervousness as I went to take the audition.
I followed the advice so many other players have given here about taping myself after practicing several excerpts, then listening to those tapes the next day to define what needed work. I taped a mock round the morning of the finals and listened to that as I waited to get to the on-deck room. I wanted to be in the frame of mind of presenting my ideas and my sound, and not get caught up in the
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THE LATEST SCORE
Please submit music for
Robert Black, Editor
possible review in a future issue of
Bass World to
ISB,
14070 Proton Rd., Suite 100 LB 9, Dallas, TX 75244, USA
All about the Double Bass – A Player’s Guide By Peter Tyler www.tylerbasses.co.uk There can be few bass players in the United Kingdom whose lives have not been touched by Peter Tyler. He has worked on and sold more than 2,000 basses during the 20 years of his second career following retirement. I have bought two basses from him and have enjoyed many jovial visits to his studio (a house full of basses and a very tolerant wife). In 2004 Peter donated a mini-bass to Fausto Borem’s university music department in Brazil to help underprivileged kids get started on the bass. Finding a mile of bubble wrap for its safe transportation is another story! So Peter is already a hero and an all-around good guy. Now he has written and self-published a superb player’s guide to the double bass that should not only be on the shelves of all bass players and teachers, but would also greatly assist parents of youngsters learning our instrument. It’s a concise and realistic guide to all aspects of choosing, buying and taking care of the bass, with descriptive chapter titles (Construction, Care, Bowing, Amplification, Accessories, Adjustment, Stringing, Plucking, Purchase, Repairs, Storage and Transportation). The book should be read for leisure, and then kept for easy reference when the time comes to obtain new strings, an amplifier, or some other product or service. A current price guide on basses available in the UK and how to make an investment in an instrument will be particularly useful for young players and their parents; with the internet, this may serve the entire world of bass-playing. While the text is down-to-earth, the illustrations are a mixture of the instructive and the hilarious, with plenty of cartoons and fun. The photos have mainly been taken by Peter’s wife, Jean, a professional photographer. I learned what a bass mouse is (you don’t know? get the book and check it out!) and that for over 40 years I 48
International Society of Bassists
haven't been looking after my bow correctly (I forgot the Vaseline on the screw). There is a comprehensive bibliography for readers who want to go deeper into the subject of the bass, its history, construction, repairing, etc. But, as Peter says, repairing basses yourself is fraught with potential problems, so the best advice is always to go to a luthier as soon as possible before damage spreads. A<< A? 85 D?<5 B1 is a large format, sturdy paperback book with 125 pages and 130 illustrations and diagrams. If you look hard, you will find three pictures of the author looking uncharacteristically serious. It would have been nice to include a proper portrait of one who has contributed so much. If you have just one book on the bass, this has to be it. O (5F95G I C1859>5 )95
En Saga - Septet (for flute, clarinet, 2 violins, viola, cello, and contrabass) By Jean Sibelius Reconstructed and edited by Gregory Barrett Breitkopf and Härtel /Musica Rara MR 2283 (score and parts) What do Richard Strauss’s *9<< E<5>@9 575< 59>=1< 1>5! , Gustav Mahler’s )I=@8?>I #4 and Jean Sibelius’s E> )171 all have in common? They are all written by major Western, Classical composers—true. They are all written for large orchestral forces and are richly orchestrated—true. They all exist in a chamber music form—true. Really? Many of us may be familiar with Franz Hasenoehrl’s 1954 arrangement of the Strauss for violin, clarinet, horn, bassoon, and double bass (Edition Peters). There is also a septet version of the piece for clarinet, bassoon, trumpet, trombone, percussion, violin and double bass by Rick Robinson (Cut Time Productions) ( B1 -?< , Volume 32, Number One, 2008). Mahler’s )I=@8?>I #4 exists in a chamber version for soprano, flute, oboe/english horn, clarinet, violins, viola, cello, bass, 2 percussion, and 2 piano/harmonium in a brilliant arrangement by Irwin Stein. Add to this chamber-version-of-symphonic-literature list, Breitkopf and
Härtel’s edition of Gregory Barrett’s septet reconstruction of Sibelius’s E> )171 for flute, clarinet, 2 violins, viola, cello, and contrabass. Anyone familiar with the orchestral E> )171 knows that it is a huge work with big dynamic contrasts and changes in orchestral texture. But it appears that this sonically massive work had its origins as a chamber work. In 1891, Sibelius began to compose an %35 for flute, clarinet and strings. By 1892, this octet had become a septet, which evolved into B1<<5 )35>5 $?. 2 . Shortly thereafter, Sibelius completed E> )171, which Sibelius said was based on the septet. Unfortunately the sketches for the %35, )5@5 and B1<<5 $?. 2 are lost. In 1902 Sibelius revised E> )171, and it is this 1902 version that is commonly performed. However, Gregory Barrett has used the original 1892 score of the work as the basis for his superb reconstruction of this Septet version. This is not merely a reduction to smaller forces, but a reworking into what might have been the original septet version. The themes are there, the general structure is as we expect, and the impact is what we are used to. Although we may miss the vivid orchestral colors and sheer sonics, we are treated to a greater clarity and intimacy. The agile and adept instrumental writing lend the septet a distinct and attractive leanness. It would be very effective in concert. Mr. Barrett is to be commended on his thoughtful, intelligent and well-done reconstruction—truly a labor of love. Breitkopf and Härtel are to be commended for publishing this work, which is produced to their to-be-expected high standard. Together they have given us a classy edition of a wonderful new chamber work from a master composer. What could be better? O (5F95G I (?5 B<13;
Suite of Folksongs and Dances By Béla Bartók Transcribed by Tivadar Országh, Aladár Mózi and Ede Zathureczky Revised by Lucas Drew Masters Music Publications, Inc.
In this collection from Masters Music Publications, Lucas Drew has adapted ten pieces for Béla Bartók’s collection of eighty-five piano pieces F?B C89<4B5> previously transcribed for violin and piano by Hungarians Tivadar Országh and Ede Zathureczky and Slovak Aladár Mózi. Since Bartók never turned his attention to the double bass as a solo voice, our only opportunity to pursue the performance of his music outside the orchestra is necessarily through transcriptions such as this. In keeping with the intent of the source material, each of the ten pieces are brief, generally diatonic or pentatonic and rhythmically uncomplicated. Additionally, the range remains comfortably in the middle of the instrument, just barely extending into thumb position. The use of double stops is limited and when used they are written to include harmonics and open strings. The accompaniment is sparse to allow the solo voice to be easily heard and Drew’s editorial suggestions are appropriate when included. Bartók is undoubtedly one of the most important composers of the 20th century and any student of the double bass hoping to pursue a career in orchestral performance must necessarily be familiar with his music. Since one can hardly expect a high school (or young college) student to have the opportunity to study and perform the C?>35B? 6?B %B385B1 or #93 6?B )B9>7, &5B39?> 1>4 C5<55 these simple pieces are a suitable place to begin a discovery of Bartók’s compositional language. O (595G 2I E1> (>I?>
young musicians competition. A quick scan of the score will show a variety of features one might expect from a typical young person’s piece: the accompaniment is relatively uncomplicated and avoids any thickly-voiced sonorities so as not to obscure the solo line, the bass’s range extends only into the highest registers via natural harmonics and the harmonic language is accessibly triadic. Additionally, Schäfer attempts to appeal to younger players perhaps not completely sold on the idea of studying “classical” music by affecting a sort of pseudo-pop sound and feel. Though not terribly advanced from a technical standpoint, "1495R C8?935 introduces a small handful of concepts that may prove challenging to the beginner, such as double-stop playing and polyrhythms. The accompaniment is generously presented in both D major and E major, so as to allow the soloist to use either solo or orchestra tuning as they please. C1>J?>5 D?5 A=?B?1 and contains, as one might expect, Schäfer’s attempt to imitate
the Italian’s humor, bravura and effortless flair in accessible modern style. Cast in three traditionally fashioned movements (Allegro deciso, Andante and Allegretto), the composer himself describes the work as “a delightful competition between two bassists vying for the favour of the pianist.” From a musical standpoint, C1>J?>5 D?
Stefan Schäfer Ladies’ Choice Canzone Dolorosa
Friedrich Hofmeister Musikverlag www.hofmeister-musicverlag.com Stefan Schäfer has been principal bassist of the Hamburg State Orchestra since 2003. As a composer he has worked in a variety of genres but, naturally, his oeuvre is comprised mostly of music for the double bass. In these two handsome new publications from Friedrich Hofmeister of Leipzig we are given two distinct examples of Schäfer’s body of work. "1495R C8?935 was, as is stated in the publisher’s notes, composed in 2003 for a
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C8?935 a modern choice alongside young players’ traditional options of Marcello, Vivaldi, etc. and C1>J?>5 D? (>I?>
Large selection of basses and bows Restoration and repairs Good selection in all price ranges Consignment and trades accepted Basses handcrafted by Jakstadt, Stetson, Roberts, Lakeberg
A NDREW
STETSON
3016 Harrison Avenue Cincinnati, Ohio 45211 513-661-6224 [email protected] www.basscellar.com
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International Society of Bassists
Velkommen til København!
By Kristin Korb [email protected]
In a restaurant not too far from the Copenhagen central train station, Jimmi Roger Pedersen and Ursula DieterichPedersen wind their way through the tables to the back corner to meet with two other team members for BA''2012. They are late, but they are all smiles. “The meeting went great! It looks like we have more funding for the convention!” Ursula exclaims as she quickly removes her coat and takes her seat at the table. It has been months of meetings for them. As a labor of bass love, Jimmi and Ursula are heading the leadership team for the biennial gathering of bassists from throughout Europe. This August 14th-19th, up to a thousand bassists from all over the world will be meeting at the Royal Danish Academy of Music in Copenhagen, Denmark to share their music and passion for this noble, yet often misunderstood instrument. For well over 30 years, the International Society of Bassists has hosted biennial conventions that attract bassists from dozens of countries. (Mark your calendar for the June 2-8, 2013 at the Eastman School of Music in Rochester, New York!) In most alternate years since 1990, the ISB has provided promotional support for European bass club organizers holding increasingly well attended conferences, beginning with Mittenwald,
$8F> 9 178-35>EB G5B6B?>, 3><, >4 5>5B9>=5> 49B93 9> C?@5>85>, D5>=B;. I> 85 E==5B, 89 9 85 @<35 6?B 5F5B?>5 ? 8> ?E, 5>:? ?=5 4B9>; ?B > ?<4-689?>54 935 3B5=.
Germany in 1990, through Barre Phillips’ 1994 Avignon, France event, Thierry Barbe’s BASS2008 convention in Paris, to the recent BA''2012 festival in Berlin, organized by Stephan Petzold and held at the Berlin University of the Arts. As these European bass club conferences have gained momentum, a group of like-minded bassists has been working to create a formally organized and independent European bass society, to be confirmed at the 2012 convention. BA''2012 will have Danish flair and style. In addition to featuring Scandanavian bassists on Nordic Day, the beautiful city of Copenhagen will be a part of the greater show. One of the goals of the convention is to take the bass out of the conservatory and put it into the community. They’ve organized a “Bass March” where at least 100 bassists will march with their instruments (think creative bikes and wagons moving the masses) from the classical conservatory to Tivoli Gardens for a mass bass ensemble concert. Jazzhouse Montmartre has also agreed to host many of the jazz events happening during the week. BA''2012 is embracing even more of the variety of music expressed by bassists throughout Europe and the world. Some of the world's best bassists are performing here in all styles. Musicians are coming from as far away as China, Thailand, and the United
States. The performance list is expanding on a daily basis, so you are encouraged to check out the website for the latest updates, www.bass2012.eu ED4.@;?: There will also be opportunities for convention attendees to check out the latest products from Europe’s great bass luthiers and bow makers. There will also be displays for all kinds of bass gear, from strings and sheet music to flight cases. ,;3 B-???@?: Running concurrently with the convention is a bass camp for young bassists up to the age of 17. Young bassists have the opportunity to meet other young bassists from all over the world and work with the world's best educators. They will also have the freedom to participate in the convention's concerts and have their own big performance at Tivoli Gardens. C;9<@@;?: For those bassists who are interested in competitions, there are a number of competitions. See the BA''2012 website, www.bass2012.eu, for details. The theme of this convention is all about inspiration. Jimmi and Ursula are excited for this upcoming event because they know how life-changing these bass gatherings can be. It is the opportunity for all lovers of the bass, not just players, to meet, talk, listen, and hang out together. This is what our instrument is all about. We bring people together, support the greater good, and celebrate like no one else. See you in August! Volume 35, Number 3
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SOUNDING BOARD Please submit recordings for possible review in a future issue of
Bass World to
ISB, 14070
Proton Rd., Suite 100 LB 9, Dallas, TX 75244, USA
Flying Garth Stevenson, double bass, piano, organ , percussion, electronics, cello, electric bass, nature recordings Annie Lynch, vocals Rich Stein, additional percussion Ryan Ferreira, guitar http://garthstevenson.com/ This second solo CD by Canadian bassist/composer Garth Stevenson is simply one of the most hypnotic and beautiful recordings I have heard for some time. Stevenson’s 2008 release A8<:1 brought his unique music to the attention of a diverse audience and in many ways announced a major new and extraordinary talent. Since then, Stevenson has composed for independent films, commercials ( H?E7<1 from this CD was used in a Barnes and
www.brucegertz.com
“Walkin” Jazz Bass Lines/56 pages Now includes 2 play-along CDs ™ with a great rhythm section of Joe Hunt, Drums, Andy LaVaerne, Piano and Bruce Gertz , Bass (one side only) Enjoy hours of walking or soloing on standards and blues! (slow, medium, fast) Walkin Video/DVD includes approaches, articulation, time and rhythm,acoustic and electric bass Instruction by Bruce Gertz, Professor at Berklee College of Music (Former students include Jeff Andrews, Victor Bailey, Alain Caron, Matt Garrison, Peter Herbert and Skuli Sverrison)
Walkin book/CD set $22.00 Walkin video set $47.50 Overseas add $6.00
Order online or Send check or money order to: Bruce Gertz Music, P.O. Box 3004 Wakefield, MA. 01880 USA
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International Society of Bassists
Chris Kosky and Rob Nairn, Editors
Noble campaign), and video games, and performed at Bonnaroo and several international music festivals, and has become something of a meditation music guru (playing for 3,000 yogis in front of the Eiffel tower in Paris and 13,000 in Central park). This second recording was inspired by and composed during a recent trip to Antarctica while Stevenson was composing the soundtrack to a new Scott Cohen film, in which he also acts. Aboard the icebreaker they used for filming were the actors Juliette Binoche and Vincent Kartheiser, author Cormack McCarthy, and Roger Payne, the famous whale researcher and the first to record the Humpback Whale songs in the 1960s. Stevenson spent several weeks learning to adapt the whale calls to the bass from Payne’s recordings. To quote from Stevenson’s website: “One evening, in the middle of a fourday open sea crossing between South Georgia and Antarctica, I gave a concert at sunset on the bow of our ship. I was improvising and creating layers with my loop pedal then started imitating whale calls on the bass. A few minutes later twelve sei whales came and swam next to our vessel!” The music, all 75 minutes, is gorgeous. Annie Lynch (from Boston’s “Annie and the Beekeepers”) adds some ambient vocals to three tracks, and apart from additional percussion on one track and guitar on another, all the instruments are played by Stevenson. The music is ambient, minimalist, mesmeric and entrancing; he has been compared to Brain Eno, David Sylvian, Robert Fripp, Barre Phillips, and others to which you could add Eberhard Weber. The influences are perhaps all there, but his style is never-the-less quite distinct and very much his own. Like Stevenson’s first CD, the disc cases are all hand-made, in this instance in the mountains of Nepal, using traditional Lokta paper, hand silk screened and tied with thread and beads. The packaging is quite spectacular. It has to be seen to be believed, and in every way effectively captures the spirit of the recordings within. It would make a perfect gift at anytime. O (5F95G 2I (?25 $19>
Never Home Johnny Never Band Johnny Never, slide and standard guitars, vocals; Parris Bradley, guitar, ukulele, tenor guitar; Alan Lewine, upright bass; Paul Patchel, drums and percussion; Dexter Gresh, harp; www.johnnynever.com #1B1> H;91 is an exciting roots music CD featuring the gutsy blues of Johnny Never and the Solar Pimps (The Johnny Never Band). With Alan Lewine as its upright bassist, Johnny Never and the Solar Pimps is an all-acoustic roots blues band performing authentic Delta, Piedmont, and Eastern Texas Blues in addition to inspiring original Blues songs. From the beginning of the CD, with the opening track -?<4 -?>R )@9> , Bassist Alan Lewine weaves and integrates his instrumental and musical prowess tastefully into tunes that are not normally accustomed to an active texture in the lower ranges. Authentically supportive throughout the CD, Lewine holds down a solid harmonic and rhythmic underpinning and allows the rest of the band to be freely expressive. When the moment is right, Lewine adds a subtle virtuosic touch when it is his turn to solo or to simply interject a tasty fill. Speaking of bass solos, check out the second track *85IR5 (54 H? . Lewine plays a red hot bass solo that truly expands the meaning of the Robert Johnson tune in a way that I am sure Robert Johnson would enjoy if he were alive to hear it. Robert Johnson would probably also enjoy the supportive arco bass stylings of guest bassist James Walls on #5 & *85 D5F9<. Another solo of note is in the last track =1 B H;91 evokes the heart and soul of an old southern blues band, but at the same time there is a fresh and invigorating originality driven in part (literally and figuratively) by Alan Lewine’s creative bass playing. – (5F95G 2I 55=I C. B17EI?
Flipside Dennis Durick, drums, percussion; Dave Monsch, Saxophones, bass clarinet, flute, vocals, percussion;
Paul Unger, bass, loops, effects; Jesse Chandler, Fender Rhodes, Organ; www.flipsidetheband.com Equally versed in jazz and classical styles, Fort Worth Symphony Orchestra bassist Paul Unger, performs upbeat and original jazz with the band Flipside. Paul Unger wastes no time in demonstrating his technical and musical facility because the open compositions and the instrumentation consisting of sax, bass, drums, and subtle interspersed keys and electronics demand the most refined levels of spontaneous creativity from a bassist. Unger and the band deliver. Although the bass playing is fantastic, the real strength of this CD lies in the compositions themselves, several of which were written by Paul Unger. All of the tunes are very different from each other, but the eclectic set is unified by the unique personal voices injected by each musician as they pursue their singular collaborative vision. There is not a dull moment in the set list. The opening tracks, CE5 ?6 D85 "E3;I #1> and )165 1D D85 C855531;5 F13D?I , are catchy well written works that allow for each musician to give the listener a prelude of what they are capable of doing on the rest of the album. In 1455 . H1@@I 1>455 is a very ambient layer of sustained sound that supports very long, linear and heartfelt sax melodies before the tune invokes an American vernacular language illustrating the mood of the song title along with humorously hinting at %<5?. Unger locks in with the drummer on a burning infectious groove on F<9@@9DI F
slow, hard, and dirty with some blues-based riffing before they surprise you with experimental timbral explorations. In B9-&?<1 B51 , the ensemble playfully alternates between a hard-grinding swing and a spastic texture that is sure to jolt the senses. In *5931> F1D &1>D , Unger performs another free and soulful solo bass excursion that draws from both his jazz and classical sides, yet at the same time, one will not think about either style. "?>5
To order send check or money order for $25.00. Include $3.50 postage and handling. Canada and foreign $10.00. Payable to Ped Xing Music, PO Box 628, Englewood, NJ 07631.
Handel and Haydn Society Harry Christophers, Artistic Director Mozart: Requiem, K626; Ave verum corpus, K618 2.41; Per questa bella mano, K612 Soloists: Elizabeth Watts, Phyllis Pancella, Andrew Kennedy, Eric Owens and Robert Nairn, double bass COR16903 The Handel & Haydn Society’s latest recording draws its program from works composed during Mozart’s final year, juxtaposing the imposing (5E95= (as completed by Franz Xaver Süssmayr) with the Corpus Christi motet A5 Volume 35, Number 3
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5BE= 3?B@EC and the concert aria for baritone and double bass obbligato &5B AE5C1 25<<1 =1>?. This positioning offers useful perspective on the final work, long cherished as the only extant complete Classical work for solo double bass by a “canonical” composer (Haydn’s orchestral solos notwithstanding). Mozart composed &5B AE5C1 25<<1 =1>? in March, 1791 for the singer Franz Gerl and double bassist Friedrich Pischelberger; the work is a tender and capricious love song, equally demanding for both soloists. Gerl played the role of Sarastro in D95 01E25B67?<4 . Former ISB president Robert Nairn needs no introduction here, but it is worth mentioning his recent appointment to the faculty of the Historical Performance program at Juilliard and his extensive performance on period instruments with many ensembles world-wide including the English Baroque Soloists, Orchestre Revolutionnaire et Romantique, and the Orchestra of the Age of Enlightenment. Nairn has been Handel & Haydn’s principal double bassist since 2003. He is a driving force with the institution and serves as leader in a series of Salon concerts that champion Classical chamber music for double bass. Owens and Nairn make a good match for Mozart’s aria; their performance comes across as a duet for two basses, and each enhances the other’s sound. Owens’ voice is huge, but he negotiates quick runs and dramatic plunges with grace. Nairn plays boldly when he needs to, but never with a harsh 54
International Society of Bassists
sound. You miss him when he drops out. The orchestral accompaniment is transparent and flexible. The recording derives from two live performances in Symphony Hall in Boston. Handel & Haydn’s Artistic Director Harry Christophers writes in the liner notes that “we must cope with the odd ‘rough edge’ but the excitement that is generated from performing live along with that natural uninterrupted progression of the music itself is reward indeed!” He is quite right, and I found the live recording to be an advantage on many counts. It isn’t perfect, but it is a lot of fun to listen to. Christophers’s tempi in all of the works are refreshingly unsentimental without being contrived or too fast. The choir sings with tremendous energy and not a trace of fear, and I particularly enjoyed the orchestra’s punchy articulation. The CD features a short commentary, spoken by Nairn, about the making of the recording and about &5B 'E5C1 that those who download the tracks and don’t have access to the liner notes will appreciate. Neither the notes nor the commentary mention that Nairn performs on a replica of a Viennese double bass (tuned F-AD-F#-A) such as Pischelberger might have played, making this one of the first such recordings available. While I do not believe that there is such a thing as an unbiased review, in the interest of full disclosure I feel I should mention that I have known Owens since we played together in the Philadelphia Youth Orchestra in the 1980s, and am a member of H&H (though I did not play in this performance). That said, I do recommend this disc highly both for its historical perspective on several levels and because it is simply an excellent and enjoyable performance. – (595G 2I H5185B #9<<5B "1B49>
Two Sessions Frank Proto, double bass Tim Berens, guitar Red Mark www.liben.com It isn’t often enough that we get our hands on a recording featuring the guitar and double bass as a duo. The intertwining of the timbre and color of each instrument transports the listener. And because (C; '1??;:? is a DVD, the still images of famous paintings by Dali, Goya and Matres that pop up intermittently add to the artistic experience and convey the emotional message with maximum force. The two protagonists of this marvelous DVD, Frank Proto and Tim Berens, are world class artists and true masters of their instruments. I have to confess that I only knew Frank through his extremely popular and inspired compositions for the double bass but in this DVD, Frank reveals himself as a highly accomplished bassist who negotiates the instrument with flair, accuracy and total control over the entire range of the bass. In (C; '1??;:?, Frank and Tim delight us with their music-making in two of the most popular genres, classical music and jazz, one session dedicated to each. For most of session one, we are immersed in the richness of Latin rhythm and harmony, with works written by Manuel de Falla, Enrique Granados, Alberto Ginastera, Mario CastelnuovoTedesco and even the “Toreador Song” from Proto’s popular C1=5> F1>1 arranged for guitar and bass. The two musicians complement each other perfectly and their communication is flawless, something we usually experience with string quartets that have performed together for years. Their masterful use of dynamics brings the colors in the still images to even more vivid life. In session two, Frank and Tim treat us to a variety of jazz standards. The change of style and character of the music from one session to the next is seamless, proving once again the high caliber of musicianship defining both artists. They play with great swing and sense of rhythm, and their improvised solos are enriched with true melodic lines and not just typical jazz language patterns. There is a wealth of information in the extras included with the DVD, where both Frank and Tim luxuriously provide details regarding the works recorded as well as
biographical data. This is not only a DVD for bass players who avidly collect new recordings, but also a true gem for any and all music lovers who appreciate music making at the highest level. O 595 2 C11<9> ?1
Pedro Valls – Music for Double Bass and Piano Leon Bosch, double bass Sung-Suk Kang, piano Meridian Records www.meridian-records.co.uk. The legacy of Bottesini’s visit to Barcelona left a big impression on the young bass player Pedro Valls, who was just twenty when Bottesini died. Although Valls pays homage to the master in his music, he has created original and intriguing pieces with a distinctive Spanish flavor. These pieces are known to some bass players, and some are performed, although rarely. Several works on this CD had never been recorded before. The excellent sleeve notes describe the research that Leon Bosch undertook to obtain and edit the material, as well as future projects. Your attention is immediately grabbed by the opening G1>4 I>?439?> 1>4 *11>5<<1. It is fiery and wonderfully tuneful. If you like Bottesini, you will love this! The following F1>191 (H?=175 ? B? 59> 9) is more introspective, even plaintive in parts, and provides an excellent contrast. The first section of the CD concludes with another F1>191, whose variations tell the story of a bullfight. Next are F? G1=5 where the virtuosic music is again studded with complex harmonic passages. The contrasting sections of the #9>5 ? are particularly arresting. ?=1>K1 is a gentle introspective interlude before the concluding A>41<391> 95. Here the 55>11 and 151 are lyrical, the &?? breathtakingly fast and the concluding 01@1514? racy and fun. The quality of performance on this CD reflects the long working relationship between Bosch and his pianist, Sung-Suk Kang. The bass playing is absolutely top notch, with beautiful vibrato throughout sustained low phrases, lyrical passages in the upper registers and perfection in the virtuosic harmonic sections. The piano is always sympathetic and never too loud. It’s a CD you will come back to time and again, to enjoy the lovely music and to be
constantly astounded by the virtuosity of the performance. Let us hope it also brings more bass players to the wonderful music of Pedro Valls. O 595 2 C1859>5 945
Winter Dream: Pieces for Strings Elizabeth Stancliffe, violin Ted Smeltz, violin Tom Kreuder, viola Peter Griesinger, double bass Brett Shurtliffe, double bass Paul Ferrington, piano www.prestostringquartet.com This CD features music by composer and double bassist Peter Griesinger written between 2007 and 2011 in different chamber settings: quintet, bass duo and bass with piano, played by members of the Presto String Quartet and guest artists. A -5449>7 =@8?>, dedicated to his wife, has movements entitled -?; #?45, ==5 E5>9>7/&<1 and -1 1>4 &5135. Sounding a bit like Stravinsky in classical mode, this is very accessible and delightfully played by the string quartet with bassist Brett Shurtliffe. The same ensemble delivers a convincing 9>7 '9>5 9> A, which I found racy and pugnacious. The CD concludes with 9>7 '9>5 9> D with more lyrical sections, sensitive bass pizzicatos and excellent balance between the instruments. Shurtliffe also plays a three movement Bass Sonata with Paul Ferrington accompanying sensitively on piano. Alternating between easily playable and totally virtuosic passages, the playing is immaculate and the music itself captivating and enjoyable. In between we have twelve short vignettes for two double basses where the composer himself is double tracked. The vignettes come in every shade - chatty, lyrical, pizzicato and jazzy, all very inventive and fun to listen to. I was particularly impressed with how he managed the instrumental range without the grunting that often characterizes bass duets. This is a superb project and should delight audiences of bass players and many others. The sheet music for all the pieces will soon be available. O 595 2 C1859>5 945
Volume 35, Number 3
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Inez Wyrick, Editor
YOUNG BASSIST’S PAGE
Bass Players Taking Over The World. Te(e a(e )& $a%/ ec*ed /&+%g ba)))*) f(&$ a## 'a(*) &f *e g#&be. S*+de%*) a(e '#a%%%g a%d '(ac*c%g a%d 'a(*c'a*%g. I*) *e 3 P)! 1. L&&" aead, )e* g&a#), a%d be 'e())*e%* % %c%g f&(a(d ee(/ da/! 2. P(ac*ce da#/! I* %&* &%#/ "ee') *e $+)c f(e) % /&+( $%d, b+* * a#)& b+#d) *&)e $+c-%eeded $+)c#e) %eeded f&( a g&&d )&+%d. 3. Pa(*c'a*e! A#a/) be #&&"%g f&( a/) *& PLAY /&+( ba)) * &*e(). We*e( *) a )c&&# e%)e$b#e, c+(c e%)e$b#e, &( a d+e*! Ta"e '(a*e #e))&%)! A%d a#a/) be &% *e #&&"-&+* f&( Ba)) C&%fe(e%ce), Ba)) Ba)e), Ba)) C#+b)! Te)e ee%*) ca% &'e% a %e &(#d &f ba)) *& /&+, % add*&% *& f%d%g %e f(e%d). I &+#d #"e *& )a(e )&$e e%c&+(ag%g a%d %*e(e)*%g %f&($a*&% * g
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International Society of Bassists
)c&&# ba)))*) & a(e )*a(*%g *& '#a% (g* %&. O+( $e))age ) f(&$ D(. D&%&a% S*&"e), P(&fe))&( &f D&+b#e Ba)) a* Se%a%d&a C&%)e(a*&(/ &f M+)c % W%ce)*e(, VA. He )e%* *e f&##&%g adce:
It’s that time of year again, so I have been hearing a lot of auditions lately. Every year there are those auditions that stand out. Sometimes it’s for the right reasons and sometimes it’s for the wrong reasons! If you are majoring in music, the most important determining factor for music school admissions and talent scholarships at most institutions is your performance at your audition. Sure, you generally need a minimum GPA and SAT or ACT scores, but none of this matters if your audition doesn’t go well.
So, when prospective students ask me about auditions, I usually make the foll owing suggestions. 1. Know the schools’ specific aud ition requirements and meet them. For example, if the school asks for a specific orchestral excerpt and you don’t have it ready, it can hurt your chances. Requirements are usually available online. Some schools are extremely specific, while others are flexible. If there is anything unclear, contact the bass professor with your questions. They should be happy to answer. 2. Pick material you play well. While the audition committee will want you to accurately demonstrate your technical and musical proficiency, there are no “points for difficulty.” Whatever you play, you should be confident that you can play it well. Playing a Paganini Ca'(ce only works to your advantage if
A>CGBC ?> &17 59
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you do it at a high level. Your bass teacher should help you put your program together, of course, but in general it’s not what you play, but how you play it. I would rather hear a beautiful Eccles than an inaccurate Bottesini. 3. Be prepared early. If your audition is this weekend and you are still putting things together, then you are walking a tightrope. Aim to be ready about one month before your first audition. One month before, perform a “mock audition” in front of an audience. This will give you an idea as to what needs solidifying. If music school is important to you, you may want to think about simplifying your life in your senior year as well. Playing in every musical, wind ensemble and festival choir may be fun and look good on paper, but if it draws time away from your audition practice time it can be detrimental in the long run. The audition is generally the major determining factor for entrance and non-academic scholarships, not the number of ensembles you have played in. 4. Get your rest: Sleep deprivation and time in the car can keep you from performing at peak levels. Sometimes it is unavoidable, but if at all possible wake
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up in the city you are auditioning in. 5. Dress appropriately. Although many committees are only interested in what they hear, some do make judgments based on what they see as well. Fair or not, your attire can hurt your chances during an audition. My advice is to dress in a manner that indicates to the committee that your audition is important to you. You don’t need to wear a formal or a tuxedo, but don’t wear jeans with holes in them either. Dress tastefully and conservatively. You don’t want your attire to detract from your lovely music making. "1C<, I G?E<4 <9;5 ? B5?7>9J5 ?>5 ?6 ?EB ?E>7 21CC9CC G8? 81C @E 1 ? 85 3 &RC. H9C >1=5 9C "?71> H5475@18. H5B5 1B5 C?=5 ?6 85 89>7C 85 G1>C ? @1CC 17. I live in Natick, Massachusetts, USA. As a learning high school musician, I have really fallen in love with the bass! It completes me, and wherever I go, the bass has to come with me! After spending my freshman year of high school at Walnut Hill School For The Arts, and being Principal Double Bass for the New England Conservatory Youth Symphony Orchestra, I have really “come out of my shell” with music! I used to be
"?71> A<51>45B H5475@18
the “shy” one, but attending this school has helped me a lot. I am so happy that I was able to overcome this fear, and it is preparing me for my career as a Double Bassist!! I WANT TO PLAY THE DOUBLE BASS FOR THE REST OF MY LIFE!! With warm wishes, ~Logan Alexander Hedgepath *DOUBLE BASS* *81>; ?E DB. )?;5C 1>4 "?71>! 98 85C5 9>C@9B19?>1< =5CC175C, <5 EC ?>9>E5 ?EB @EBCE9C ? 1;5 ?F5B 85 G?B<4, ?>5 7??4 C?<94 >?5 1 1 9=5! I>5J B9;
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AD INDEX
ACOUSTIC IMAGE . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 AES FINE INSTRUMENTS . . . . . . . . . . . . . . . . . . . . . 10 ATELIER CONSTANTIN POPESCU. . . . . . . . . . . . . . 42 BASS2012 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 BASS GARDEN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 BOB BEERMAN'S BASS VIOLIN SHOP . . . . . . . . . 59 BOB'S HOUSE OF BASSES. . . . . . . . . . . . . . . . . . . . . 56 BRUCE GERTZ MUSIC . . . . . . . . . . . . . . . . . . . . . . . . 52 CINCINNATI BASS CELLAR . . . . . . . . . . . . . . . . . . . 50 CLASSIC CONTRABASS, INC. . . . . . . . . . . . . . . . . . 54 CONCERT DESIGN INC. . . . . . . . . . . . . . . . . . . . . . . . 53 CONCORD INTERNATIONAL GROUP, INC. . . . . . IBC CONNOLLY & CO. . . . . . . . . . . . . . . . . . . . . . . . . . . . BC DAVID GAGE STRING INSTRUMENTS . . . . . . IFC, 23 DEPAUL UNIVERSITY SCHOOL OF MUSIC. . . . . . . 6 DOMAINE FORGET MUSIC ACADEMY . . . . . . . . . 26 DOUGLAS MAPP MUSIC . . . . . . . . . . . . . . . . . . . . . . 50 EASTMAN SCHOOL OF MUSIC . . . . . . . . . . . . . . . . 40 HACHEZ & LORGE LUTHIERS . . . . . . . . . . . . . . . . . 38 ISB MAKERS' COMPETITION . . . . . . . . . . . . . . . . . . 18 JAMEY AEBERSOLD JAZZ AIDS . . . . . . . . . . . . . . . 22 JD HILL MUSIC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
JEAN AURAY, LUTHIER. . . . . . . . . . . . . . . . . . . . . . . 31 JOHN DEWITT MUSIC . . . . . . . . . . . . . . . . . . . . . . . . 58 JOHN MICHAEL SMITH . . . . . . . . . . . . . . . . . . . . . . . 30 KOLSTEIN MUSIC, INC.. . . . . . . . . . . . . . . . . 28, 36, 38 LIBEN MUSIC PUBLISHERS . . . . . . . . . . . . . . . . . . . 27 LUDWIN MUSIC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 MICHAEL KLINGHOFFER. . . . . . . . . . . . . . . . . . . . . 11 MOORADIAN COVER COMPANY . . . . . . . . . . . . . . 12 MYRIAD LIMITED . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 NICK LLOYD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22, 50 PEABODY CONSERVATORY OF MUSIC . . . . . . . . . 28 PED XING MUSIC . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 ROBERTSON & SONS VIOL. SHOP INC. . . . . . . . . . 24 RUBINO BOWS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 SETH KIMMEL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 SHANK STRING INSTRUMENTS . . . . . . . . . . . . . . . . 3 SPERGER COMPETITION . . . . . . . . . . . . . . . . . . . . . 43 UNIVERSITY OF TEXAS AUSTIN BASSFEST . . . . 34 UNIVERSITY OF ILLINOIS . . . . . . . . . . . . . . . . . . . . 37 UPTON BASS STRING INSTRUMENT CO. . . . . . . . 35 VEKTOR GERMANY. . . . . . . . . . . . . . . . . . . . . . . . . . 59 YAMAHA CORPORATION OF AMERICA . . . . . . . . . 8
E6653D9F5 >BI 1, 2010
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