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Old 04-30-2008, 07:27 AM
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Eric Swanson Eric Swanson is offline
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Quote:
Originally Posted by Vince Mendoza View Post

3. Having played both upright and electric bass, did you personally find it difficult to move from upright to electric? And could one realistically do self-study with the upright? Although I read music and am well-versed in theory, I'm self-taught on the electric.

Thank you for your help.
I am now an amateur, weekend-warrior-type player, so take this with a grain of salt (or two). That said, I studied 'cello with several good teachers before I got to EB (mostly self taught) at 14, then DB at 15 (or so). At that point, my theory and reading were decent and I was playing on EB in small and large jazz bands. I flailed around on DB with method books on my own, mostly out of some combination of slim cash flow and teenage ignorance/arrogance.

I was lucky enough to get a great teacher (jazz virtuoso, former National Symphony player, composer, and conductor Terry Plumeri, who studied with the former NYPhil Principal, Robert Brennand).

I learned more in my first month with him than I had "taught" myself (badly) in 2-3 years of nonstop flailing and playing publicly, out of tune. Through Terry, I also got to meet and take a lesson with Mr. Brennand (whose ease, talent, and tone I will never forget). Later, I got to study with Lew Norton (former NYPhil, for decades, amazingly large sound, great, generous, funny, no-nonsense guy) and very briefly, with George Mraz (jazz virtuoso and overall amazing player, with or without the bow). All these players had overcome the physical challenges of the instrument.

They all helped me see past the significant resistance and geographical obstacles of the bass. They opened me to possibilities that I never could have imagined on my own. They also taught me some key stuff about humility in the face of the music, service to their art, and rigorous, fearless honesty. I never would have learned any of that on my own.

Part of having a teacher who can really play, for me, was about seeing not only that greatness and freedom are attainable, but learning how to go about trying to get some small piece of that. Much easier than reinventing the wheel.

I was never an orchestral player on bass (except really pretty badly, in school). I always played jazz, blues, etc. That said, studying with folks who, as Ken said, either played in an orchestra or studied along those lines was key. Thanks to my teachers, I can use the bow a bit, and spend most of my time playing arco. I personally never could have learned about that on my own, even as a former 'cellist. Without the ability to play with a bow, I have no idea how I could have ever hoped to develop decent intonation.

Thirty years later, I am still working on things that these teachers told me. A good teacher can save you untold years of time and free you up to play music, rather than fight the bass.

Even now, as a dabbler, having had great teachers gives me a chance to enjoy playing, even at my now greatly reduced level of competence. Even as messed up/insane as I was as a teen and young adult, and as imperfect a vessel for the priceless gift my teachers gave me, I got and retained a lot. If I can keep my hands in shape, I can play without a fight, thanks to my teachers.

Finally, any kind of education opens the world to all of us. Meeting and studying with those who have faced their inner obstacles, traveled the world playing, practiced years of humility and professional dedication, and risen to the top of their profession is pretty mind-expanding. Why miss it?

Umm, all to say, +1 to Ken's post.
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Last edited by Eric Swanson; 04-30-2008 at 07:49 AM.
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