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  • Crafting your Core Sound

    As an upright player you have to make many moving parts work together in order to get the tone you want. Both hands play different roles in crafting your tone, but the real voice of our instrument comes from the bow. If you are new to the upright and haven’t taken the time to really... »

  • Optimized Techniques for Marathon Gigs

    How many times have you played a continuous four hour gig? Have you ever had to go from the studio to a gig? Or play two gigs in one day? If you have, you understand the important of having an optimized playing technique. If you have not, and are going to try, you need to... »

  • Looping Lesson: Programming the Behringer FCB1010 with Mobius

    Looping Lesson: Programming the Behringer FCB1010 with Mobius

    This is a lesson based around use of the popular Behringer FCB1010 MIDI foot controller surface for hand-free control of the freely available and very capable, Mobius looping software from Jeffrey Larson at Circular Labs. The Gear The Behringer FCB1010 Foot Controller has 100 memory positions to store MIDI controller data for up to 5... »

  • Math and Music – Equations and Ratios

    Previously in the “math and music” lesson we derived equations for expressing intervals as functions of relative frequencies. This week we’re going to define conventions for interval sizes and then derive three variables where we can determine the composition of any frequency ratio. Guess what – all intervals can be described as different combinations of... »

  • Efficient 20 Minute Practice

    Efficient 20 Minute Practice

    How often do you hear people claim that it’s not how much your practice but how efficiently you practice? There are always claims that practicing 15-30 minutes every day versus a 3 hour session every Saturday will have a more positive impact on your playing ability – but how do you make the most of... »

  • Math and Music: Intervals

    Math and Music: Intervals

    Every musician should have an idea of the foundational concepts that allow us to create music. This lesson series will explore the basis for tonal structure in Western music. I’ll warn you right now, this lesson is not for the faint of heart, or math-phobic. The purpose of this is to add to the conceptual... »

  • Double Stops on the Upright Bass

    The upright bass is frequently classified as a “single-line” instrument. In other words, the bass produces a single line of tones and does not play polyphonically. This is certainly the rule in many cases, but there are times where adding additional chord tones to your playing, especially in solos, can add a new dimension of... »

  • How to Write a Band Bio

    If you are a working musician – or aspire to be a working musician – you need to be able to sell yourself and your music. At some point you may have to present your work to a record label or publishing company and you will be competing against many other artists for a label... »

  • Using Triadic Harmony in Solos

    The foundation for harmonic structure is the triad. They are the basic chords of Western harmony, and using them in a solo provides a sense of structure and strongly outlines the underlying chords. Do not be fooled into thinking this is some boring drill where you arpeggiate the triads from chords in a lead sheet... »

  • Lesson: Basic Line Construction Types

    Lesson: Basic Line Construction Types

    After doing last week’s column, I’ve been thinking more about approaches to creating lines connecting ii and V chords. I’d like to revisit the subject and delve into some basic line construction types. Each particular technique constitutes parts that become interchangeable and apply to a wide range of bass line situations. Throughout these exercises we’ll... »