Mr. Seaton, I'm curious what your current enrollment is at UNT for bass students?

# Jazz Majors - undergrad
# Classical - undergrad
# Jazz - Grad students
# Classical - Grad students

Thanks.

Hello,
Here are some averages for UNT that vary in numbers year to year.
# Jazz Majors - undergrad- 20
# Classical - undergrad - 13
# Jazz - Grad students - 3
# Classical - Grad students - 2
# Classical - PHD students - 2

Thanks, much appreciated.

Not sure if you have this information but how many of the grad students got their undergrad degree at UNT?

Also, I'm curious whether or not you have a particular philosophy regarding grad school. Specifically whether its best right after finishing undergrad or better to get some experience first.

Hi,
For direct contact about UNT, one is welcome to email me at lseaton@music.unt.edu .
Some Graduate students came from UNT and some from other places. Going to Grad school right after undergrad is fine for most, while others would benefit from other experiences first. Some people have a hard time returning to the student life once they leave. Others are much better students and appreciate school after a break. There is no set pattern that fits for all. Most Grad schools (including the University of North Texas) have high expectations for admittance.

Once again thanks.

How do you have room for 20 undergrad bassists!

We are lucky to have one of the largest bass programs in the world at UNT. The large jazz ensembles have spots for about 25 bassists. 8 semesters of lessons are required for jazz majors-4 classical and 4 jazz. New jazz bass students take a group jazz class with me twice a week while studying classically with another teacher. They take private jazz lessons later. I also teach 3rd semester Advanced Improvisation for all instruments where the bassists have more time with me. With people being in different stages of their academic career, the spread of students with lessons and classes is balanced.

We are lucky to have one of the largest bass programs in the world at UNT. The large jazz ensembles have spots for about 25 bassists. 8 semesters of lessons are required for jazz majors-4 classical and 4 jazz. New jazz bass students take a group jazz class with me twice a week while studying classically with another teacher. They take private jazz lessons later. I also teach 3rd semester Advanced Improvisation for all instruments where the bassists have more time with me. With people being in different stages of their academic career, the spread of students with lessons and classes is balanced.

How many other people give private lessons? Do you have grads do some?

For jazz lessons there is one TF. All the jazz bassists will get some lessons with me and will have me their first year in a jazz bass class that meets twice a week.
as said before, they also will see me in Advanced improvisation that I teach. Additionally, there is a Spring Semester elective Rhythm Section Masterclass that is co taught by me and the other rhythm section faculty: Fred Hamilton guitar, Ed Soph drums, and Stefan Karlsson piano. For classical lessons there are several TF's since all bassists will take them regardless of their major. The wonderful bassist and teacher Jeff Bradetich is the classical teacher and oversees that program and it's TF's.

Mr. Seaton:

Do you know Robert Brown, who until last year was a graduate student and then instructor at UNT, a jazz keyboardist? Just wondered it you did; I'm taking jazz pedagogy with him here in Houston presently.

Could you give me the names of at least three (3) double bass instructors in the Houston area, if you know of any, that you would recommend for Jazz? I am 50 years old, and thirty years out of playing full time. I'd like to get back into it, but am very rusty.

Thank you.

There are some good bassists in the Houston area. There is a great web page that lists many of them with a short resume. That would be a good place to search for a jazz teacher. Go to: www.jazzhouston.com and click on the bassists. Yes, I know Robert from UNT. He may be able to recommend someone as well.

There are some good bassists in the Houston area. There is a great web page that lists many of them with a short resume. That would be a good place to search for a jazz teacher. Go to: www.jazzhouston.com and click on the bassists. Yes, I know Robert from UNT. He may be able to recommend someone as well.

Actually, he recommended I ask you! :)

Thank you for the information. My mid-life crisis has manifested as a desire to become a decent Jazz bassist.

I have purchased a WAV4. Would you consider that adequate for learning and practice?

Thanks again.

For jazz lessons there is one TF. All the jazz bassists will get some lessons with me and will have me their first year in a jazz bass class that meets twice a week.
as said before, they also will see me in Advanced improvisation that I teach. Additionally, there is a Spring Semester elective Rhythm Section Masterclass that is co taught by me and the other rhythm section faculty: Fred Hamilton guitar, Ed Soph drums, and Stefan Karlsson piano. For classical lessons there are several TF's since all bassists will take them regardless of their major. The wonderful bassist and teacher Jeff Bradetich is the classical teacher and oversees that program and it's TF's.


I'm a little confused, just how much face-to-face lesson time with you will the typical undergrad get by the time he finishes his degree? And if you know can you tell me if the classical bass students are similarly handled by Mr. Bradetich and his TF's? Thanks.

Students get face to face time with me twice a week the first year (2 semesters) in the Jazz Bass Fundamentals Class which is like a group lesson. They later will get private lessons with me - usually 2-3 of the 4 semesters of required jazz lessons and the rest with a TF. This depends on the loads of course. We also meet with all jazz bass majors once a week in the Jazz Bass Departmental where those students in lessons perform a short program followed by a group discussion of various aspects of the performance. Jeff Bradetich sees some private students, has TF's for others, and there are two group bass classes in the evening - one for solo literature and one for technique for those in classical lessons. I have an open door policy that encourages students to come by and see me regardless of whether they have a class or lessons with me. In the first year a student will probably see me face to face 75 or more times if they make all their bass classes and departmental performances.

Illbay wrote: "I have purchased a WAV4. Would you consider that adequate for learning and practice?
I am sorry, but I am not familiar with a WAV4. Maybe some of the readers of this forum will comment.

Thanks for the reply. I'm curious if you are able to help your students with the business aspects of the life of a musician in their post UNT careers? Sounds like you're a busy fellow, and training them musically has to come first but I have to believe that there is a lot more to earning your keep as a musician than just being a good player.

I am sorry, but I am not familiar with a WAV4. Maybe some of the readers of this forum will comment.

The WAV4 is the Chinese-made (and thus less expensive) cousin to NS Designs' CR-series Electric Upright Bass (http://www.nedsteinberger.com/).

Illbay that photo in your profile looks mighty familiar to me. ;)

Illbay that photo in your profile looks mighty familiar to me. ;)

"You got it wrong, sir! I'm only the cleaner!"

At UNT I share with students a lot of practical knowledge including my experiences in the business of music. We also have a spring lecture series where guest artists visit. Frequently the topic of the life of a working musician comes up during the Q & A.

Illbay wrote about the electric upright. I have not yet found an EUB that has the sound and feel of an acoustic. They certainly seem like they would make travel easier!

LOL!!

Illbay wrote about the electric upright. I have not yet found an EUB that has the sound and feel of an acoustic. They certainly seem like they would make travel easier!

That's nigh unto impossible; the physics just won't work. That's like saying "I have this Gibson Les Paul, but it just doesn't sound as good as a Martin D-45."

However, I have to say that to me, a "casual user," the "feel" of the neck comes darn close. But the point really is, that it is very handy to have around, and I'm just wondering if it will be adequate for getting my chops up to speed. If I ever want to go beyond just playing "at" Jazz and actually PLAY Jazz, I'm gonna have to bite the bullet and go for the doghouse.

To my way of thinking passing along your experience maybe almost as important to the overall success of your students as correcting technique. Thanks.

For getting your chops up to speed it probably would be OK on the EUB. Certain elements of tone production pizz and arco will probably be different, but a lot of things will be fine.

For getting your chops up to speed it probably would be OK on the EUB. Certain elements of tone production pizz and arco will probably be different, but a lot of things will be fine.

Thanks. I went back and reviewed my comment. I hope it didn't come off as "snotty" to you; I certainly didn't mean it to be!

I just wanted to imply that I don't see how an EUB could ever match the "real McCoy," but the advantages are obviously portability as well as its being applicable for certain more "modernistic," less traditional forms of jazz & pop where that traditional string bass sound is not so vital.

And I do think that the neck action is quite close enough to the "real thing" that it is acceptable.

N.B. I have sent an email to Dr. Aubrey Tucker who is the Chairman of Jazz Performance Department at Houston Community College, asking for recommendations for an instructor.

I think what will be optimum, given the dearth of available time, is meeting for an hour every two weeks with an instructor to sort of "coach" me back into form. I do remember a lot of stuff, though I was never "very" good. But just helping correct my errors in form, and directing my self-study, would be a great improvement.

BTW, Robert Brown told me that he distinctly remembers your encouragement when he was a student at UNT. Although it's hard for me to credit since he seems to be such an accomplished musician, he was concerned about not "measuring up" to many of the other musicians - I believe he started FORMAL music education when he was already in his late 30s, although he had been a professional musician in fact for some time.

I have a REAL problem with "feelings of inadequacy" myself. It has plagued me all my life with regards to making music, which I dearly love to do, but consider myself wholly inadequate to the task. Robert and I are trying to work toward my "just having fun" with it, relaxing and just doing my best despite my inadequacies real or perceived.

At my advanced age (relatively speaking; I'm just a few months younger than you are), I am just now realizing how much I DON'T know about the Jazz literature and theory, in particular. It is somewhat daunting, but at the same time the logic of it is appealing to my engineer's mind. I flatter myself that I have always had a "feel" for it, but I want to try to learn the mental game, and somehow marry the intuitive/emotional with the deliberate/mental.

Maybe the day will come when I feel confident enough to actually dare to "sit in" with someone who is accomplished, knowing that I can do my part to lay down that bottom line!

Thanks for your presence here, and again I apologize for seeming rather testy earlier. I didn't intend for it to come out that way at all!

To my way of thinking passing along your experience maybe almost as important to the overall success of your students as correcting technique. Thanks.

There is a great deal to be said for the mental and emotional game, as well as the physical.

Thanks. I went back and reviewed my comment. I hope it didn't come off as "snotty" to you; I certainly didn't mean it to be!
Thanks for your presence here, and again I apologize for seeming rather testy earlier. I didn't intend for it to come out that way at all!

No offense taken. I encourage an open and honest dialogue as long as comments don't get offensive or vendictive. Lynn

Professor Seaton, I was wondering if you did have any double bass shopping tips for your students.

I suggest you go to a major instrument dealer. The ISB conventions are a great place to see and try before you buy. The next one is June 2009 at Penn State. The ISB website has some basses for sale. www.isbworldoffice.com That site has links to luthiers and also will have info on the convention in the future. There are other posts in Talk Bass about buying a bass. Use the search engine.