Double Bass University Bass Curriculum

[.matthew e wengerd.]

I am trying to develop a curriculum for my students at the University.

The school has progressed from zero full-time string teachers and no orchestra to two full time strings plus an adjunct bass instructor (me) and an orchestra in just four years.

Many of my students show interest in double bass, but may not want to play professionally or may only be interested in jazz.

I am looking for examples of other Universities' bass curricula and for your ideas from which I can develop a semester-by-semester program, outlining the expectations for electric and double bass. I do not want to force all bass students to study classical bass as the University doesn't have the instruments to do this and that doesn't really fit into the concept of the burgeoning music department.

I've done some google searches to start, but figured I'd look to you guys for help.




I should add that I cannot use my alma mater's curriculum because I graduated from this University and was afforded an opportunity to shape my education as I progressed. I had to find a DB teacher on my own once I decided I wanted to study. Boy, have we come a long way!

 

[Kylebass]

Hans Sturm has the syllabus for his students at Ball State University posted here. They are worth taking a look at.

[Invalid or Expired Link Removed]

 

[Machina]

I would expect a classical rep. list to include the following for undergrad (In adition to a standard Orchestra excerpts ) :

A Sonata by Marcello, Correlli, or Handel
Bottesini Elegy in D (Or any other Bottesini Elegy)
Eccles Sonata
Capuzzi, Dittersdorf, Vanhal, or Dragonetti Concertos
Concerto by Koussevitzky
Four Pieces by Koussevitzky
One Bach Cello Suite of Choice
Bottesini Concerto no 2 (Perhaps for more advanced students in undergrad)
Hindemith Sonata
Pagannini Moses Variations

I think these are pretty standard pieces.

 

[.matthew e wengerd.]

Kyle - I had seen Sturm's site a couple days ago and had forgotten where I had been looking. Thanks!

I may not have made it clear: I have yet to have a student who arrives at the University with DB experience. Of the several students I presently have with and inclination towards DB, I think anything more than Capuzzi and the Bourrees from the Third Suite by graduation would be a pipedream.

I want to get the University to that point, but we're not there yet. Right now, I'm looking to develop reasonable goals for the doubler (Electric and DB) with the understanding that the stakes get higher every year.

 

[cpete430]

You may want to start with a method then either Simandl or Nanny depending on German or French. There are also great electric method books by Hal Leonard and the like. Look on Amazon. I learned out of Simandl and I think it's slow enough and pretty gratifying from the get go. Then I graduated to the 30 etudes Simandl book and the Schwabe Scale Studies book. I'm sure you probably knew all of that already though. Good luck!

 

[mcnaire2004]

Maybe talk to the other teachers and have the first simester the 3 Essential Elements books. I learned from them well when I was younger. then maybe semester 2 could be simandle (method and etudes). Then semester 3-4 could be simple to semi-hard orchestra exerpts and early solo work. Maybe at this rate year 4 could be Dragonetti and Capuzzi.

 

[chaurett]

Hi Matthew. I teach.... alot. And I've found a framework that works really well for me with beginning students. I use George Vance's Prograssive Rep. first. Not because I'm a huge fan of Rabbath technique but mainly because we think about the geography of the fingerboard in similar ways. After book 1 I mix in some 2 octave scales and Simandl etudes which I doctor with my own fingerings. Nothing like some sequence to really learn the neck of the bass! The Simandl can be boring but the rep in the Vance books tend to keep them satisfied. At the end of book 2 you can keep them going on book 3 or branch out into other solo works ie Baroque Sonatas, Capuzzi, Cimador. There's no reason why you shouldn't expect them to be able to perform a Baroque sonata, at least a movement on the Dragonetti, a nice variety of orchestral excerptsand some Bach after 4 years of lessons. It's very doable and would be a respectable senior recital.

I've used this system with beginning students of all different ages (middle/high school, secondary or non-major lessons in college, and adults) and it gives them a solid technique and a nice base of rep to pull from. How hard you push them depend on what their goals are, but this is a whole other question.

PS - If they are jazz centered I still get them through at least book 2 of the Vance and then slide more in the jazz direction (ie learning heads, expanding their walking lines, soloing, harmony etc....)

I hope this helps a little. Feel free to email me if you have any specific questions.

 

[.matthew e wengerd.]

These have all been a great help! I want to add to my initial question:

The department has grown a lot and comes from very humble beginnings. At present, a student can graduate from the University with a performance degree (bass concentration) without ever touching the DB.

The long and short of it is: Do I require DB studies for bass majors?

I see both ways on this and am really struggling with it. I absolutely love the electric bass and, unlike my teacher, believe there's plenty to teach and learn with the instrument.

However, I really am glad I took the initiative to give DB a try. It totally changed the course of my life!

What are your thoughts?

 

[fcleff]

I think that, for the total bass experience, you should require DB studies. It can only enhance what they do on electric bass. You said that it changed your life; it will probably change the lives of others. It certainly changed mine.

 

[WillBuckingham]

Why don't you offer a degree in double bass and a degree in electric bass?

 

[ILIA]

These have all been a great help! I want to add to my initial question:


The long and short of it is: Do I require DB studies for bass majors?

I

If you are on the fence on this issue, let the pragmatic concerns of student retention push you over to the side that does NOT require double bass studies to graduate with a "bass" degree. Some of your electric bass majors will drop out of your studio if you <em>require</em> double bass studies. It is a frustrating transition for electric players, and too many of them won't be able to hack it. However, the electric bass students fill up rosters. That lets you keep your adjunct job and/or get an upgrade in title/pay down the road.

 

[.matthew e wengerd.]

I will continue to have non-major students fill up my schedule. I refuse to let retention be a deciding factor when there are much more important issues. In a department of 250+students, there are presently 2 bass majors, neither performance (one is in music ministry and the other a BA in music), so the majority of my schedule is filled with students who will not be affected by this decision.

I know there's validity in an electric bass-only curriculum. I'm just not sure that my University is the place for it. Right now, a bolstered strings program is more important and proving that we take DB studies seriously may do more to improve student numbers and quality. In my experience thus far, the majority of what I deem "serious" bass students (have any interest in theory and not just "rocking out" or reading tab) are at least receptive to DB experimentation.

I'm really trying to look towards the future of the program. I plan on leaving the state after finishing my current grad program and my colleagues and administration know this. My goal is to keep the bass program from being the red-headed step child (no offense to redheads or step-children) and maneuvre it into a position that will make for a great academic post for my successor and an excellent choice in study for future students.

 

[chaurett]

I'll put in my 2 cents once more. I don't see any reason to require double bass. I can't make suggestions as to an electric bass curriculum but I'm sure there are very demanding ones out there. There are couple of reasons that come to mind. First of all, there is the jack of all trades, master of none syndrom. Some of the best classical bass players I know play neither electric bass nor jazz. I'm not advocating that, but if your students are interested in being the next Victor Wooten what good are Mozart excerpts going to do? Also, I don't see how you could require upright unless you can provide them. As you know, it's a significant expense which may be out of reach to students. Imaging being forced to buy a $2000 tuba because you teacher thought you might want to double someday. You might end up resenting that person...
The one way I could see it working in your situation would be to use the basses you have and give them a bass for a semester to see if you can get them hooked. Sort of an introduction. Then allow the student to make the decision. Remember, you are teaching music through the bass, whether it be electric or acoustic. You need to have certain standards but each student is different and you will need to try to feel them out on a case by case basis.

 

[EFischer1]

if your students are interested in being the next Victor Wooten what good are Mozart excerpts going to do?

Besides teaching them great technical skills and superb musical instincts? How about some idea of where their modern bass music is coming from.

Narrow-minded thinking will only lead to narrow-minded playing.

In my opinion.

 

[.matthew e wengerd.]

Chaurett -

I see where you're coming from, but I agree with Fisch -

Requiring DB is not like making a DB player play electric or a Sax player play clarinet. For me, one of the issues is about understanding the role of your chosen instrument.

And basses aren't a problem. I've already confirmed my dept chair will but another Eastman from Quinn, providing two very nice basses for use. With only two or three bass majors this year, we can swing it.

 

[chaurett]

Besides teaching them great technical skills and superb musical instincts? How about some idea of where their modern bass music is coming from.

Narrow-minded thinking will only lead to narrow-minded playing.

In my opinion.

Look at the question from the other direction. If your goal is to be a classical bassist, you don't need to spend time transcribing Victor Wooten licks. I have 2 degrees in bass performance and, though I play electric, neither of my schools required it. If you have a student who's really focused on electric, why force it? It's not "narrow-minded", it's realistic. With all due respect, the quote above is very naive. There are many ways to learn great technical skills and superb musical instincts. This is coming from someone who plays about 95% classical music and studied 100% classical technique. If you have the basses, then go for it. My point was that you have to look at it more as an exploration than a stringent requirement. Some will take to it and some won't. Good luck.

 

[Jeff Guevin]

I think many electric players would love the chance to learn the DB, especially those serious enough about music to be majoring in it, and even more so if the school is providing the instruments. I'd imagine a flexible program, that allows them to emphasize BG while learning DB, could offset the risk of losing students due to the non-BG elements. Of course those students would probably be performing recitals with a lot more BG than DB, and their classical performance would likely never be top-notch, but they will be more rounded and complete musicians as a result.

 

[Ike Harris]

You should contact Roy Vogt at Belmont University. He's basically an electric player who has built a large studio there but I believe they require some upright studies in that field for a el. major.

Ike

 

[BGreaney]

I don't know how it works in other places/schools, but at MSM a lot of the jazz kids (many of whom play EB and DB) were going to Homer Mensch while he was teaching. Now, many of them are seeking lessons from David Grossman, splitting their semester lessons. I'd say something like that speaks for itself.

 

[EFischer1]

Look at the question from the other direction. If your goal is to be a classical bassist, you don't need to spend time transcribing Victor Wooten licks. I have 2 degrees in bass performance and, though I play electric, neither of my schools required it. If you have a student who's really focused on electric, why force it? It's not "narrow-minded", it's realistic. With all due respect, the quote above is very naive. There are many ways to learn great technical skills and superb musical instincts. This is coming from someone who plays about 95% classical music and studied 100% classical technique. If you have the basses, then go for it. My point was that you have to look at it more as an exploration than a stringent requirement. Some will take to it and some won't. Good luck.

You are missing the point. This is not a question of technical proficiency, which can be gained through a variety of methods. The purpose of learning, in your example, Mozart excerpts has as much to do with the development and role of the bass historically as it does with the technical difficulty of said excerpts. Correct me if i'm wrong, but I fail to see how Victor Wooten's lines led to the develpment of bass writing by Mozart and his contemporaries. The value of this education to a university level musician seems, to me, to be of obvious benefit.

Many classical players, as I'm sure you're aware, study techniques of violone or gamba to improve their bass playing. Many experiment with Viennese tunings and other variations which appear in bass history. I know that Todd Seeber, for one, studied Gamba in college to help reduce tension in his right arm.

But, then again, perhaps it is naive to better understand the context and development of your instrument.