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practicing editing on imovie - let me know what you guys think about the playing, and if there is a better program for syncing video. (imovie has a lot of "guess and check" work)

-Mark Morton. Get everything of his. [Invalid or Expired Link Removed] -Edgar Meyer. One of the best. Though most of his stuff is not traditional rep Invalid Link Removed -everything and anything by Catalin Rotaru. I only know of one recording he has published ("bassic cello notes"...

if you use an open D in the Dmaj7 chord, what string are you going to play the C# on? The A string? If so, then which string are you going to play the F# on? If you are going to "roll it" with a bow or your fingers, fine. If you are playing pizz, and you want all the notes to sound...

Invalid Link Removed Chatted briefly with Mark the other day, and he said the recording is finished. Should be released this summer or fall. That crazy guy played the bass AND the piano on this one!

the bass part, that is written above the piano part, is at concert pitch. Piano players don't want to look at a transposed part. When you play an E in solo tuning, it sounds an F#. Secondly, it would be not an impossible task to edit the bass part so it matched the piano score.

are your goals as a student clear to your instructor?

Bb7=Bb(R) D(3) F(5) Ab(b7) C#(#9) there is a Db triad spelled out in a Bb7(#9)

here is a small list of tunes that work great with a bow: Misty Have You Met Miss Jones? Someday My Prince Will Come Bye Bye Blackbird I Fall In Love To Easily Days of Wine and Roses I prefer to play the above tunes with a bow for really only one general reason. With a bow, I can...

you just blew my mind. it's so simple now....

for example, in the key of G, a G major chord has a significantly lowered B for a 3rd, and a slightly raised D for a fifth. No problem. What about a B minor chord, or iii chord, in the key of G? Should we use the lowered B for the root of the iii chord? Which intonation system would be best...

the Eb of an Ab major chord is actually higher in pitch than the D# of a B major chord. Put that in your pipe and smoke it!

Dr. Mark's books have fast(efficient) and slow(lyrical) fingerings for 1, 2, and 3 octave scales/arpeggios in all tonalities, in every key. There is also a "suggested manner of practice" section that covers variations in bowing.

The "E" (9th fret) below the octave harmonic is the dividing line for me. All whole steps until the next "E" (21st fret) are 1-3.

@ mcnach: just to clarify for you, I was suggesting that a more composed manner of playing would exude dignity. What he is doing exudes immaturity or lack of self-control. And it looks like ****.

My criticism of his "thrashing" was in regards to the particular musical context shown in the video. He stands out in a group where he is not the soloist. He is drawing attention away from EVERYONE with his movement. If he could play with more physical composition in this context, it would be...

that looks beyond ridiculous. Say whatever you want about expression, timing, phrasing etc. It is distracting and he would be a greater asset to this group if he would sit down and just play without the immature "show" he is putting on. If you can't play well sitting still like a person with...

diminished chords exist naturally in Major keys as the vii chord, and in minor keys as the ii and raised vii chord. EXAMPLE: Key of D minor: ii=Emi7(b5), vii=C#dim7 Key of C Major: vii=Bmi7(b5) secondary dominants can be built on fifth or one fourth lower than any note in a key. Key...

it is never too early to start Beethoven 5.

I think it would be a safe bet that by the time a piece makes it to the stage, we are done struggling with it! Isn't that what rehearsals are for? :spit:

Les is right: play it as written. I would like to add that in classical music, the octave your part is written in is important to the bigger picture. Composers don't factor in the "difficulty", or in some cases even the "possibility," when writing parts. Only the "musicality."

altering the octave a passage is composed in can offer a couple musical snags. 1. It can put you in a poor relationship with the piano part. This can be solved by changing the octave of the piano part, however the timbre most often times will suffer as a result. Certain voicing belong in...

E diminished=E G Bb E 1/2 diminished(or minor7b5)=E G Bb D E diminished 7=E G Bb Db the arpeggio in the example above is an E diminished arpeggio. E 1/2 diminished would need a b7.

Gerald Veasley - bass solo (1998) - YouTube check out Gerald Veasley.

1987-1990, Miles Davis had two bass players. Marcus Miller and Foley.

sight reading.

in your opinion, what is the most difficult piece you have personally seen an undergraduate perform? If possible, please list the school and the performer, and/or the bassist's teacher.

i routinely use the 3rd finger as low as the "9th fret" E on the G string. depends largely on which direction i'm headed.

"don't get wrapped up in the tempo..." "it's about dynamics, spiccato and string crossing" c'mon guys....:hmm:

Texas All-State audition repertoire videos by Dr. Mark Morton. Invalid Link Removed check out his channel for the other tunes.

"if the metronome ain't goin', you ain't practicin'." -Phil Maneri. Best advice ever.