Enjoy the benefits of a premium membership!
Upgrade Account
-
TalkBass has been independent since 1998. Add your voice.
Create a free account to reply to discussions, view embedded media, and browse with fewer display ads.
Join free Log in
Want zero display ads or expanded classifieds tools? Compare plans.
Double Bass Good 4 year college for music?
- Thread starter tenorbass
- Start date
well so far its a permanent part of the program. I hope it can continue for a long tme. we need more support for arts education!
now that is what i wanted to hear. I wont be able to fill the position this year but when 2011 rolls round i'll seriously be considering it. 
its great the school can do that.
its great the school can do that.Hey Louisa! Don't worry, in a few years you'll obviously have that option. Where else are you planning on auditioning?
Well, I'm not really sure, because I haven't gotten the chance to have lessons with many people. But I will for sure be applying to Eastman and Stoneybrook. Also on the top of the list would be Curtis, Indiana University, Michigan, and VanDemark also mentioned to me Jiri Hudec, who teaches in Scotland (maybe?). But that's pretty much all I have figured out so far. Any places to add to my list? Where did you apply?
-Louisa
You should add MSM for McCoy's studio and Juilliard for Cobb's studio.
Also, Northwestern for Peter Lloyd's studio, DePaul for Kassinger's studio, and McGill for Ali Yazdanfar's studio.
Also, Northwestern for Peter Lloyd's studio, DePaul for Kassinger's studio, and McGill for Ali Yazdanfar's studio.
I auditioned at Eastman, NEC, BU, MSM and SUNY Purchase. Definitely glad I wound up at Eastman. I'm sure VanDemark will guide you in the right direction as far as where to audition, he certainly has so far. You'll do amazingly well I'm sure, I wouldn't be surprised to see you at Curtis : )
Quick question for those who might know. I know there are four people on staff at BU, but is Edwin Barker the only one who actually has a studio?
When I studied with him, Todd had a few students, but this was quite a while ago. He also ran the bass class. At least when I was there, Mr. Wolfe and Mr. Orleans had no students and one student, respectively. Todd taught both French and German. I recall that Ed only taught French, but that may have just been the studio at the time. There was a Japanese grad student who switched to French just to study with Ed.
Well that doesnt bode well for my German bow toting self, but its still worth a shot, always the chance I could go back to French. If you don't mind would you PM me with some info about the experience you had there?
I'll PM you. For what it's worth, you couldn't ask for a better teacher than Todd. He is incredible. Of course, Ed is great, but don't write BU off if you don't get into his studio. If you want to stick with German, Todd is the man. At the time, I played German exclusively. I simply can't say enough good things about him. Both Todd and Ed studied with Portnoi and they have played together for many, many years. As a result, they have many similarities in terms of teaching and playing styles.
That's great to hear, the school seems awesome and I would love to leave the midwest for a cultural center on the east coast. Getting into BU would be awesome and a dream for me.
im not sure the exact number, but i believe ed barker has upwards of 2 german bow students right now. maybe a bu student will chime with the exact number and some hard facts about the other teachers there.
dont sleep on the l.a schools. if youve got what it takes, colburn is unbelievable. usc is also a great school with 3 -- 4 if you count john clayton, which you totally should -- fantastic teachers (who, unlike teachers at other big schools, get along). and the program there is still developing, but chris hanulik at ucla is unquestionably on par with any player i have ever heard -- definitely the best german bow. and of course check out indiana, but im sure that goes without saying.
the best advice i can give to someone picking a teacher is to try and find the person who will help bring out what you want your musical voice to be. this is easier said than done, and requires knowing a lot about yourself (what you can, cant, and want to do), in addition to the teachers youre considering. compatibility is key, both in musical and personal terms. unfortunately, the many great music schools in the country (and elsewhere) are incredibly spread out, but i suggest you try and get acquainted with as many teachers as possible (i know it seems like my answer to everything, but try and get the the isb convention this summer).
with that said, you probably dont want to pick a school solely because of the teacher. im a freshman at iu, and although lessons, rep class, and masterclass are always very rewarding, i think the majority of what i have learned this semester has come outside of all that, whether it be from listening to professional recordings, hearing/watching/talking to other players, recording myself, experimenting in the practice room, or even recalling things from before college. just keep in mind that only a handful of the 168 hours in a week are spent in your teachers presence.
dont sleep on the l.a schools. if youve got what it takes, colburn is unbelievable. usc is also a great school with 3 -- 4 if you count john clayton, which you totally should -- fantastic teachers (who, unlike teachers at other big schools, get along). and the program there is still developing, but chris hanulik at ucla is unquestionably on par with any player i have ever heard -- definitely the best german bow. and of course check out indiana, but im sure that goes without saying.
the best advice i can give to someone picking a teacher is to try and find the person who will help bring out what you want your musical voice to be. this is easier said than done, and requires knowing a lot about yourself (what you can, cant, and want to do), in addition to the teachers youre considering. compatibility is key, both in musical and personal terms. unfortunately, the many great music schools in the country (and elsewhere) are incredibly spread out, but i suggest you try and get acquainted with as many teachers as possible (i know it seems like my answer to everything, but try and get the the isb convention this summer).
with that said, you probably dont want to pick a school solely because of the teacher. im a freshman at iu, and although lessons, rep class, and masterclass are always very rewarding, i think the majority of what i have learned this semester has come outside of all that, whether it be from listening to professional recordings, hearing/watching/talking to other players, recording myself, experimenting in the practice room, or even recalling things from before college. just keep in mind that only a handful of the 168 hours in a week are spent in your teachers presence.
There are two BU bass players with German bows and both of them are really f_ing great. It has absolutely nothing to do with bow grip, because Ed's principles are not really based so much in the physical execution but the exact sound you are trying to produce. Regardless of the way you hold the bow, the basic principles of playing that Ed tends to address are the same. I think that the studio here is a good mix of ability levels. The common thread (which we often speculate on) seems to be intensity and willingness to work.
Good advice for anybody anywhere, and maybe BU in particular: Focus on clarity in bow changes/strokes, exaggerating musical gestures, and disciplining your left hand. A plus would be addressing articulations in excerpts (though this applies mainly to clarity)
Good advice for anybody anywhere, and maybe BU in particular: Focus on clarity in bow changes/strokes, exaggerating musical gestures, and disciplining your left hand. A plus would be addressing articulations in excerpts (though this applies mainly to clarity)
