double bass
219484411
Double Bass Directivity
Samuel D Bellows K Joshua Bodon Timothy W Leishman
225491510
An Overview of Pedagogical Materials for the Double Bass
Joe Braun
210635005
Double Bass Parts: Challenges and Opportunities
The double bass is just different enough from the other string instruments that it can be mysterious to school orchestra directors whose primary instrument is not the double bass. Unlike the other instruments of the string family, the bass is tuned in fourths; the left hand is capable of spanning only a whole step without pivoting; there are different schools of thought on naming the positions, and there are even different bows (French and German) Because of these differences, ensemble parts written for the bass can present challenges and opportunities not immediately apparent to the nonbassist. As orchestra directors, we spend vast amounts of time researching repertoire for our groups. Whether we conduct beginning groups or advanced high school ensembles, we face many choices when choosing music. For example, many of us may look at the second violin part to determine if a piece will be something our least experienced violinists can handle that will also be rewarding for them to learn. Or we may look for a piece that includes a cello part that will showcase a strong cello section. It can be very beneficial to take the same approach to looking carefully at double bass parts in pieces arranged for school orchestra with the strengths and weaknesses of our bassists in mind. An awareness of what might make a bass part rewarding or challenging for young bass players can help lead to a successful experience for these musicians and for the whole group. There are three aspects worth considering when examining double bass parts to determine what kinds of things will play to the strengths of our young bassists, and what kinds of things can present challenges:
American String Teacher
C J photographer Horner
182112844
The Rabbath Method: Philosophy and Technique in Current Double Bass Pedagogy
ii ACKNOWLEDGMENTS iii DEDICATION v LIST OF TABLES xi LIST OF ILLUSTRATIONS xii CHAPTER I 1 Reflexive Narrative 1 Francois Rabbath: Background 5 Methods for Double Bass: Historical Background and Considerations for Current Application. 8 Pedagogic and Philosophical Ramifications for Music Education 14 Research Problem Statement 17 Purpose of The Study. 18 Research Questions 18 Primary Research Questions 18 Secondary Research Questions 18 Definitions 19 CHAPTER II LITERATURE REVIEW 21 Purpose of the Review 21 vii Educational Philosophy 21 Music Education Philosophy 30 Music Learning Theory 38 Philosophy of Psychology 44 Effective Teaching 47 Research into Biomechanics and Ergonomics of String Performance 51 Prominent String Methods 57 Prominent Double Bass Methods 57 Nuovo metodo per contrabasso. 57 Methode complete pour la contrebasse a quatre et cinq cordes 58 New method for string bass 59 The Nouvelle technique de la contrabasse 60 The Double bass 60 Other Prominent String Methods. 62 A New approach to violin playing 62 Six lessons for the violin 63 Principals of violin playing and teaching 64 Playing the viola: Conversations with William Primrose 65 The Suzuki method: Talent Education 65 George Vance Progressive repertoire 69 viii Summary of the Review. 72 CHAPTER III METHOD 74 Participants 74 Data Sources and Instrumentation. 74 Distribution of Instrument and Collection of Questionnaire Data 77 Mixed Method Approach to Analysis 78 Limitations and Delimitations 80 CHAPTER IV DATA REPORT AND DISCUSSION 82 Quantitative Data 82 What Year Did You Earn the Diploma of the Institute? 82 Where do You Teach? 84 What Genres of Music do You Play Professionally? 85 Approximately How Many Students Have You Taught Using the Rabbath Method? 87 From Which Volumes of the Method did You Study With Rabbath? 89 From Which Volumes of the Method do You Teach? 89 Do You Include Repertoire of the Rabbath Method in Your Performance and/or Your Students' Performances? Which Repertoire do You Prefer? 90 From Which Double Bass Methods Other Than Rabbath do You Teach, if Any? 92
David Pellow
219268961
Analisis Bassline Ray Brown dalam Lagu Honeysuckle Rose pada Bagian Duet Double Bass dan Cornet
Dalam berbagai aliran musik, pergerakan nada bass atau bassline sangat mempengaruhi konstruksi dari sebuah musik. Jazz adalah aliran musik yang memberikan kebebasan pada setiap individu untuk menginterpretasikan musik yang dibawakan sesuai dengan keinginan dari pemain. Pada aliran musik swing jazz, nada bass dimainkan dengan gaya nada yang berjalan atau walking bass dan memiliki fungsi menjabarkan sebuah akord dalam sebuah progresi akord. Dalam format duet, Ray Brown mengiringi instrumen cornet yang memainkan melodi utama, menyebabkan nada bass menjadi satu satunya nada yang menentukan sebuah akord. Dalam membentuk sebuah walking bass, dibutuhkan target note dan approach note, hasil dari analisis yang dilakukan membuktikan bahwa approach note dan target note yang dipilih Ray Brown sangat berbeda dengan bahan pembandingnya yaitu Ed Fedewa. Bassline Ray Brown didominasi oleh nada nada yang menghasilkan reharmonisasi. Ray Brown juga kerap menggunakan gaya melodi bass dalam mengganti gaya walking bass. Pada akhir dari analisis peneliti menemukan bahwa Ray Brown membuktikan bahwa pada irama swing jazz, ketika nada bass menjadi patokan utama dalam menentukan akord, pemain bass memiliki keleluasaan yang lebih, dibandingkan dengan format umum, yaitu ketika instrumen yang bermain nada bass harus berintegerasi dengan instrumen lain dalam menentukan sebuah akord.
Samuel Yosia Leominardo
213377470
Senior Recital: Francisco Lora, double bass
Francisco Lora Edward J Hughes Louis Heriveaux Larry T Wilson
226781773
19. THE DOUBLE BASS
William Russo
213496475
Doctoral thesis recital (double bass)
James Suter
214120138
Introductory Double Bass Method for Children (v2)
Adriana Gutierrez Saldana
204724446
Junior Recital: Zane Carnes, double bass
Zane Carnes