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The Lowdown with Dr. D - Page 11

Better Soloing: An Introduction to Key Center Improvising

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 people practicing all of their...

In the Studio: Part 3 – Aural Communication

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 personal mix going into their...

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In the Studio: Part 2 – Setting the Stage for a Good Performance

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 recording. We can mostly divide...

In the Studio: Part 1 – Preparation

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 against if you can avoid...

Improving Clarity: Left Hand/Right Hand Coordination

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 Zweig at Indiana University she...

Preparing for College Auditions

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 suggestions. Although much applies to...

Left Hand Thumb: Pressure

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 When in standard “neck position”...

Left Hand Thumb: Position

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 times they cannot. When serious...

Dr. D’s Guide to Improving Your Walking Bass Lines

Dr. D’s Guide to Improving Your Walking Bass Lines

I regularly see students who are unhappy with their walking bass lines. Perhaps they don’t like how their lines lead (or don’t lead) from chord to chord. Perhaps they find themselves falling into predictable patterns over and over again. Perhaps their range is limited. Perhaps they just don’t find their lines satisfying. All of this can occur even when the...

Pacing Your Solos: A Guide to Improvisation

Pacing Your Solos: A Guide to Improvisation

It is not uncommon for students of improvisation to approach their practice without a real plan. They simply start trying to improvise a solo, without really focusing on When, How or What to play, hoping things will simply get better over time. I was certainly guilty of this. It’s one reason I developed my expandable “Tune Treatment” mentioned in an...

Consistent Weight and Legato Bowing

Consistent Weight and Legato Bowing

One of the most common deficiencies bass players have when using the bow is an inconsistency of tone in various parts of the bow. There may be times when such inconsistency is musically desirable, but it should always happen “on purpose” and not merely as a result of a lack of bow control. For example when playing the passage below,...

Basic Vibrato on the Upright Bass – A How To Guide

Basic Vibrato on the Upright Bass – A How To Guide

Many students have trouble mastering vibrato technically and understanding its usage musically. There are numerous debates regarding vibrato usage in musical contexts, so today we will focus on a simpler matter: how to achieve technical mastery of this skill. From an instrumental point of view, our goal is to have complete control over the width and speed of our vibrato,...