Donovan Stokes
Bassist Donovan Stokes currently enjoys a varied career of teaching, writing, performing and composing. As a soloist, he is known for his virtuosity and his extensive use of EFX and loopers. His acoustic solo album “Gadaha” (2006) has garnered high critical praise. He is a member of the Rockabilly group Four Star Combo and freelances in ensembles throughout the Mid-Atlantic Region in a disparate a range of styles.
As a composer he has composed a number of works and has enjoyed commissions from Barry Green, Blanka Bednarz, The International Society of Bassists Young Bass Division and Jerry Fuller, among others.
“Dr. D” also offers a range of online instruction in upright bass, alternative strings and composition. He is founder of the non-profit Bass Coalition and is the Artistic Director for an Annual Bass Workshop in Winchester, Virginia and for the Shenandoah University Performing Arts Camp.
Dr. Stokes earned degrees from Vanderbilt University (B.M.) and Indiana University in Bloomington (M.M. and D.M.). He is currently an Assistant Professor at Shenandoah University-Conservatory. Visit him on the web at donovanstokes.com
Articles by Donovan Stokes:
Audition and Performance Preparation: Recording Yourself
One very enlightening way to prepare for an audition or performance is to record yourself prior stepping on the stage, or into the audition room. Expensive equipment is not required to gain benefit from recording yourself. Although better recording equipment means you can listen back in greater detail, the fact is that free recording software...continue reading »
Bass Technique: Shifting and the Feeling of Lightness
Accurate shifting is extremely important on an upright bass. It may even be the one technique we use the most often. Most other string instruments can play a few two-octave scales without shifting, while we can play a grand total of zero, even if we “pivot.” Despite how often we must execute flawless shift, for...continue reading »
Better Soloing: An Introduction to Key Center Improvising
There are many methods we can use to come upon satisfying note choices when improvising over a predetermined set of chord changes (i.e. a tune). One common way to approach note choice is using chord/scale theory, equating every chord to a scale. For example: A minor 7 = A dorian. It’s this approach that has...continue reading »
In the Studio: Part 3 – Aural Communication
Today, we continue where we left off in this “In the Studio” column series. Be sure to check out part one and two of this series. Mixes In my experience, (unless you are all in the same room and not using headphones) it is extremely beneficial for each musician in the studio have their own...continue reading »
In the Studio: Part 2 – Setting the Stage for a Good Performance
Last time we focused on the importance of being prepared before we enter the studio with our projects. Today, let’s talk about setting the stage for a good performance after we walk into the studio. Communication Communication between musicians is an important aspect in obtaining a quality performance, and thereby a more exciting and pleasing...continue reading »
In the Studio: Part 1 – Preparation
Recently I’ve had the good fortune to take several trips into the recording studio, each situation was entirely different from the last. Each session, or group of sessions, highlighted in my mind different features necessary for an efficient, pleasant and successful session. Unless you are doing both the performing and the engineering, (something I advise...continue reading »
Improving Clarity: Left Hand/Right Hand Coordination
There are several reasons why a passage may sound sloppy. One of the more prevalent ones, however, is incorrect coordination between the two hands during passages of separate (i.e. not slurred) notes. For such passages, the fingers must completely stop the string before the right hand, or bow, articulates. While studying violin pedagogy with Mimi...continue reading »
Preparing for College Auditions
As someone who has taught at the University/Conservatory level for a number of years, I get many questions regarding undergraduate music school auditions. Some questions are specific to my school, but many are general requests for advice. As I am currently deep into audition season, I thought I would summarize some of my more common...continue reading »
Left Hand Thumb: Pressure
Note: For Left Hand Thumb positioning, check out the previous installment. When there is excess tension in the hands, the source is often improper use of the thumb and its corresponding muscles. The thumbs of both hands, just like all the fingers, should use minimum effort and pressure to achieve any particular technical goal. Pressure...continue reading »
Left Hand Thumb: Position
For all instrumentalists, excess tension should be a source of concern. We should work to eliminate it as much as possible. For string players, and especially bassists, excess tension can not only lead to technical and musical inaccuracies, but also to physical discomfort and injury. Sometimes these injuries can be resolved or worked around, other...continue reading »
