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[Lynn Seaton]

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.

[Lynn Seaton]

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!

[pedro]

LOL!!

[Illbay]

Originally Posted by Lynn Seaton

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.

[pedro]

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

[Lynn Seaton]

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.

[Illbay]

Originally Posted by Lynn Seaton

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!

[Illbay]

Originally Posted by pedro

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.

[Lynn Seaton]

Originally Posted by Illbay

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

[pedro]

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

[Lynn Seaton]

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.