Edgar Meyer performance in Nashville

[Flint Buchanan]

I took a little road trip last night up to Nashville, b/c that seemed to be the closest that Mr. Meyer was coming to me in the foreseeable future. While I am no expert, these are my impressions of the evening.

The performance was listed as "an evening with Emanuel Ax and Edgar Meyer". Mr. Ax played admirably on the piano and performed one solo piece that was extremely impressive. On the whole, though, I was somewhat disappointed with the piano accompaniment. I simply had a difficult time discerning/and even hearing the sound of the bass at many points in the evening. I'm not sure if that is the fault of an audio mixer, the piano, pianist, bassist, the bass, or some combination. Either way- I had trouble enjoying some of the evening because I simply couldn't hear it.

What I heard I found exhilarating (and depressing). It was exhilarating because I was able to “feel” the notes as Mr. Meyer fingered them-I kept thinking “he’s got to have the lowest action in the world” because his touch seemed so slight and gentle-yet quick and precise at the same time. And yet it was depressing because, even though I can “hear” the music in my head, and visualize myself doing it, I know that I simply started too late to ever do what he’s doing. I can certainly relish in the performance of others, but I admit that I wish I were able to carry on such a lyrical conversation with my own instrument.

And the instrument-I had read that he used a small bass, but I was still somewhat surprised when I saw it. It certainly is a 5/8ths, and maybe a small one at that. However, the tone is great and it seemed to cut through the mix when asked. The sound was very similar to the recorded sound I have heard from this bass, so I was pleased.

In the end I left inspired.

[Richard Prowse]

"Moderation is a fatal thing, nothing succeeds like excess"
Flint, take note of your own signature!
You say:
"And yet it was depressing because, even though I can “hear” the music in my head, and visualize myself doing it, I know that I simply started too late to ever do what he’s doing. I can certainly relish in the performance of others, but I admit that I wish I were able to carry on such a lyrical conversation with my own instrument."
Your public profile says that you are under 40. You have plenty of time to improve your playing beyond your wildest dreams!
How?
1) Regular practice... get to really know your fingerboard through regular scale and arpeggio practice.
2) You must work on an etude (or 2 or 3). This could be a piece of music like the Prelude from Bach's first cello suite (in cello range). An etude must force you out of your comfort zone.
3) You must start building a repertoire of things that you can play.
4) You must know that, when Mr Meyer puts bow to string, he faces the same physical problems that you face. Imagine if you could get to be half as good as him, possibly even 5/8 as good. If your body generally works okay this is possible. If you get to be 1/2 as good as Mr Meyer (and you aren't prepared to stop at this point) you are certainly on the way!
5) No one does F. Buchanan as well as F. Buchanan. Apply this simple principle to your playing. Give your playing its own voice.
6) Listen carefully. Listen to all the sounds around you.
7) Make sure that your bass is set up well.
8) Study how that bow works and make it an extension of your arm.

Aim for the sky and you may get to the top of the tree.

You are under 40, I am 54. I play much better now than I did at your age... I know this for a fact. I am seldom happy with my playing but, when I stand back, I can see that I've improved immensly (especially in the last 3 years!). The one lesson that I've learnt well in life is that thoughtful regular practice (backed up by clear goals) makes you get better.
People may laugh and say I'll never be able to match Edgar or Gary. This may be true, as it is hard to compete against such bounds of natural talent.
As far as I know, you only get one crack at this life. You've only got yourself to work with, so you might as well 'go for it'!
If I make it to 75, and there's a good chance the old body won't last that long, watch out Edgar!

[Flint Buchanan]

Well Mr. Prowse. I am taking your charges to heart.

I don't know where it will lead me, but I am going to see what I am made, and capable, of. I'll report back in a few months, and we'll see what's come of this.

-as a sign of this "new beginning" I've changed my signature

[Richard Prowse]

Originally Posted by Flint Buchanan

Well Mr. Prowse. I am taking your charges to heart.

I don't know where it will lead me, but I am going to see what I am made, and capable, of. I'll report back in a few months, and we'll see what's come of this.

-as a sign of this "new beginning" I've changed my signature

Now you're talking Flint!
The hardest part will be to maintain the intensity of your intention. Keep an eye out for old Mr Procrastination too!
I suggest that you make yourself a little slogan to remind youself of your intentions, for those times when you forget about how serious you are.
Eg. On 1st April this year I set myself a goal to lift my intensity a notch or two. I now write '147' (short for 1st April 2007) above my practice log each day to remind myself about how serious I am. It seems to help.

[Flint Buchanan]

so what do you suggest I put in a practice log?

since you're a music educator-what's the best way to effectively practice? I went by the library and checked out "the Inner Game of Music" because I really don't know how to practice.

[Richard Prowse]

Originally Posted by Flint Buchanan

so what do you suggest I put in a practice log?

since you're a music educator-what's the best way to effectively practice? I went by the library and checked out "the Inner Game of Music" because I really don't know how to practice.

1) Get a copy of Simandl, if you can and work through that, slowly.
2) Start learning your major scales (arco) and increase the range. Don't just play in one comfortable key... it's best to do all 12.
3) Find a piece of music and learn it. Find a piece that isn't impossibly hard but still presents a challenge.
4) Check out other players in your area and, if they sound good, ask them for a lesson.
Sorry, I'm rushing off to an appointment, so I did this quickly.

TRY TO MAKE YOUR PRACTICE SOUND GOOD... it is supposed to be music, after all.

The inner game of music is a very good book.

[Ken Smith]

This Thread is 3 years old that you just responded to Wayne. Flint hasn't been on line here for 8 months according to his profile info?

Wanna start your own thread in DB Classical Music with a slight edit?

[Ken Smith]

Originally Posted by wayne holmes

Mr. Smith, My heart sank--I thought that you were headed toward telling me that Flint had ****

Flint-could we hear from you- now I am concerned

are you still after the bass playing?

Ken-I guess we could start a new thread about goals of playing accomplishment, or something like that. Can we just convert this to a new thread

like: please share you struggles with getting better playing the DB? Please don't make me do it all over.

Start it then. This one is kinda done.