Washburn University Double Bass Studio

Total Page:16

File Type:pdf, Size:1020Kb

Washburn University Double Bass Studio Washburn University Double Bass Studio The Double Bass program at Washburn University Education: gives bassists an opportunity to participate in a wide variety of ensembles. Bassists at Washburn Master of Music can participate in all major instrumental DePaul University ensembles, including Symphony Orchestra, String Orchestra, Jazz Big Bands and Combos, Wind Bachelor of Music Ensemble, and Athletic Bands. Each bass player New England Conservatory of Music receives a weekly lesson with Mr. Lewis, focusing on technique, musicianship, solo repertoire, and Contact: jazz bass. Also, bassists at Washburn meet for Gordon R. Lewis a weekly bass class with Mr. Lewis where bass (785) 323-7579 ensemble repertoire (duos, trios, quartets, etc.) is [email protected] Gordon R. Lewis rehearsed and performed. The bass class setting Instructor of Double Bass is also used to work on other areas of bass playing Bassist Gordon R. Lewis has served as Instructor of Double such as warmup exercises, technique building, and Bass at Washburn University since 2011. Originally from orchestral repertoire. Evanston, IL, Lewis began his musical studies at the age of six as a cellist. Switching to the bass in high school, Lewis Bassists at Washburn enjoy a close camaraderie quickly became immersed in a wide variety of music in the and supportive atmosphere that is reflected by fertile music scene in Chicago, and later, Boston. the Washburn University Music Department as a whole. Bass players at Washburn can choose to Lewis is an accomplished performer and teacher of both major in Music Performance, Music Education, classical and jazz bass. As an orchestral bassist, Lewis Bachelor of Arts in Music, or can pursue a Music has served as Principal Bass with the Kankakee Valley Minor while majoring in any other program Symphony Orchestra and as Assistant Principal Bass with offered at Washburn University. Students can the Elmhurst Symphony Orchestra. He he currently serves also participate in the ensembles and take private as Principal Bass in the Topeka Ballet Orchestra, and lessons as non-majors. For more information on performs with the Topeka Symphony. As a jazz bassist, bass study at Washburn University or to arrange a Lewis has performed at many of the top jazz clubs around trial lesson with Mr. Lewis, feel free to contact me the country, including Riles Jazz club in Boston, the Green at [email protected] Mill in Chicago, and the Blue Room in Kansas City. .
Recommended publications
  • PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
    PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized.
    [Show full text]
  • Heavy Metal and Classical Literature
    Lusty, “Rocking the Canon” LATCH, Vol. 6, 2013, pp. 101-138 ROCKING THE CANON: HEAVY METAL AND CLASSICAL LITERATURE By Heather L. Lusty University of Nevada, Las Vegas While metalheads around the world embrace the engaging storylines of their favorite songs, the influence of canonical literature on heavy metal musicians does not appear to have garnered much interest from the academic world. This essay considers a wide swath of canonical literature from the Bible through the Science Fiction/Fantasy trend of the 1960s and 70s and presents examples of ways in which musicians adapt historical events, myths, religious themes, and epics into their own contemporary art. I have constructed artificial categories under which to place various songs and albums, but many fit into (and may appear in) multiple categories. A few bands who heavily indulge in literary sources, like Rush and Styx, don’t quite make my own “heavy metal” category. Some bands that sit 101 Lusty, “Rocking the Canon” LATCH, Vol. 6, 2013, pp. 101-138 on the edge of rock/metal, like Scorpions and Buckcherry, do. Other examples, like Megadeth’s “Of Mice and Men,” Metallica’s “For Whom the Bell Tolls,” and Cradle of Filth’s “Nymphetamine” won’t feature at all, as the thematic inspiration is clear, but the textual connections tenuous.1 The categories constructed here are necessarily wide, but they allow for flexibility with the variety of approaches to literature and form. A segment devoted to the Bible as a source text has many pockets of variation not considered here (country music, Christian rock, Christian metal).
    [Show full text]
  • Bassist Bryant Wilder's Fingerprints
    NEWS MAGAZINE SHOP PLAYERS GEAR LEARN MEDIA WIN # ! + BASS CDS SUBSCRIBE NOW Bassist Bryant Wilder’s Get Cool Bass News! Fingerprints email address Subscribe By Bass Musician ! Published on August 18, 2020 ! Share " Tweet # Subscribe Bassist Robert Harper, Ride With Me Pluckwild Music Is thrilled to announce the release of the latest album from Bryant Wilder, Fingerprints, available everywhere on August 21, 2020. Fingerprints is an eclectic blend of incredible funk, salsa and gospel. # Interview with Bassist If you like Bruno Mars, you’ll love Fingerprints hit single, WtF ! Ricardo Martinez Trending (Where’s the Funk, featuring The Schtank Machine), an indisputable $ groove that will make you get to groovin’. BASS BOOKS ) The Beatles: Sgt Pepper’s Bass # 1 Bryant has held a bass since he was 14. Transcriptions ! The bassist, songwriter, arranger and producer has recorded and $ performed with artists such as Missy Elliot, The CD Hawkins Singers, BASS HISTORY ) Fretless Bass History New Kids On The Block and Shirley Caesar on many of the world # 2 greatest stages, including; Saturday Night Live, Radio City Music Hall, ! Interview with Bassist Carnegie Hall and Madison Square Garden (MSG). Fingerprints is his $ Mitch Friedman sophomore album, following The Right Track, which was released in BASS BOOKS ) 2004. Dream Theater Bass Transcriptions – Images # 3 And Words ! PluckWild Music is a production company devoted to making music $ that people want to hear. Productions blend live instrumentation and BASS BOOKS ) synthesizers that create intense low-end, head bobbing, feet tapping Tab Appendix – Grooving # songs that listeners hum for days. With Hybrid Techniques 4 ! Visit Bryant Wilder online at bryantwilder.com $ Interview with Bassist BASS GIVEAWAYS ) Teymur Phell The Summer Splash View More Music News Bass Musician Giveaway, 5 Sponsored by Elixir Strings ADVERTISEMENT You may also like..
    [Show full text]
  • Downbeat.Com April 2011 U.K. £3.50
    £3.50 £3.50 U.K. PRIL 2011 DOWNBEAT.COM A D OW N B E AT MARSALIS FAMILY // WOMEN IN JAZZ // KURT ELLING // BENNY GREEN // BRASS SCHOOL APRIL 2011 APRIL 2011 VOLume 78 – NumbeR 4 President Kevin Maher Publisher Frank Alkyer Editor Ed Enright Associate Editor Aaron Cohen Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Associate Maureen Flaherty ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Advertising Sales Sue Mahal 630-941-2030 [email protected] OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough, Howard Mandel Atlanta: Jon Ross; Austin: Michael Point, Kevin Whitehead; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Robert Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz,
    [Show full text]
  • 20Questions Interview by David Brent Johnson Photography by Steve Raymer for David Baker
    20questions Interview by David Brent Johnson Photography by Steve Raymer for David Baker If Benny Goodman was the “King of Swing” periodically to continue his studies over the B-Town and Edward Kennedy Ellington was “the Duke,” next decade, leading a renowned IU-based then David Baker could be called “the Dean big band while expanding his artistic and Hero and Jazz of Jazz.” Distinguished Professor of Music at compositional horizons with musical scholars Indiana University and conductor of the Smithso- such as George Russell and Gunther Schuller. nian Jazz Masterworks Orchestra, he is at home In 1966 he settled in the city for good and Legend performing in concert halls, traveling around the began what is now a world-renowned jazz world, or playing in late-night jazz bars. studies program at IU’s Jacobs School of Music. Born in Indianapolis in 1931, he grew up A pioneer of jazz education, a superlative in a thriving mid-20th-century local jazz scene trombonist forced in his early 30s to switch that begat greats such as J.J. Johnson and Wes to cello, a prolific composer, Pulitzer and Montgomery. Baker first came to Bloomington Grammy nominee and Emmy winner whose as a student in the fall of 1949, returning numerous other honors include the Kennedy 56 Bloom | August/September 2007 Toddler David in Indianapolis, circa 1933. Photo courtesy of the Baker family Center for the Performing Arts “Living Jazz Legend Award,” he performs periodically in Bloomington with his wife Lida and is unstintingly generous with the precious commodity of his time.
    [Show full text]
  • The Composer's Guide to the Tuba
    THE COMPOSER’S GUIDE TO THE TUBA: CREATING A NEW RESOURCE ON THE CAPABILITIES OF THE TUBA FAMILY Aaron Michael Hynds A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS August 2019 Committee: David Saltzman, Advisor Marco Nardone Graduate Faculty Representative Mikel Kuehn Andrew Pelletier © 2019 Aaron Michael Hynds All Rights Reserved iii ABSTRACT David Saltzman, Advisor The solo repertoire of the tuba and euphonium has grown exponentially since the middle of the 20th century, due in large part to the pioneering work of several artist-performers on those instruments. These performers sought out and collaborated directly with composers, helping to produce works that sensibly and musically used the tuba and euphonium. However, not every composer who wishes to write for the tuba and euphonium has access to world-class tubists and euphonists, and the body of available literature concerning the capabilities of the tuba family is both small in number and lacking in comprehensiveness. This document seeks to remedy this situation by producing a comprehensive and accessible guide on the capabilities of the tuba family. An analysis of the currently-available materials concerning the tuba family will give direction on the structure and content of this new guide, as will the dissemination of a survey to the North American composition community. The end result, the Composer’s Guide to the Tuba, is a practical, accessible, and composer-centric guide to the modern capabilities of the tuba family of instruments. iv To Sara and Dad, who both kept me going with their never-ending love.
    [Show full text]
  • The Hard Bop Trombone: an Exploration of the Improvisational Styles of the Four Trombonist Who Defined the Genre (1955-1964)
    Graduate Theses, Dissertations, and Problem Reports 2019 The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964) Emmett Curtis Goods West Virginia University, [email protected] Follow this and additional works at: https://researchrepository.wvu.edu/etd Part of the Music Performance Commons Recommended Citation Goods, Emmett Curtis, "The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964)" (2019). Graduate Theses, Dissertations, and Problem Reports. 7464. https://researchrepository.wvu.edu/etd/7464 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964) Emmett C. Goods Dissertation submitted to the School of Music at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Trombone Performance H.
    [Show full text]
  • Steven Heffner, Bassist 2 Andover Rd
    Steven Heffner, Bassist 2 Andover Rd. Apt B3 | Athens, OH 45701 | (509) 521-0520 [email protected] and stevenheffner.com Personal Summary I am an educator and performer with experience in arranging and composing. Versatility is key to my success and it is paramount to my philosophy of education. Through emphasizing collaboration with other disciplines, promoting musical entrepreneurship, and encouraging multi-genre musical experiences, I give my students the best possible preparation for their musical goals. As an artist, I work to provide examples of transcendent musical moments to captivate and inspire the motivations of my students as well as to fulfill my own artistic aims. Education 2009 Master of Arts in Jazz Pedagogy Thesis: Approaching the Bass: A Book for Students and Teachers Eastern Washington University in Cheney, WA 2006 Bachelor of Music in Instrumental Performance: Bass (summa cum laude) Eastern Washington University in Cheney, WA 2003 Columbia Basin College in Pasco, WA Associate of Arts and Sciences Professional Teaching Experience 2015-present Adjunct Instructor, West Virginia Wesleyan College Applied Bass Instruction Teach applied jazz and classical bass to music majors Evaluate juries, recitals, and general progress Studio Classes Present weekly sessions on listening, peer performance, and group playing experiences String Methods Instruct music education majors on fundamental techniques for the violin family including methods for instructing young students and beginning string programs 2013-present Adjunct Instructor,
    [Show full text]
  • The History of Rock Music: 1976-1989
    The History of Rock Music: 1976-1989 New Wave, Punk-rock, Hardcore History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page (Copyright © 2009 Piero Scaruffi) The Golden Age of Heavy Metal (These are excerpts from my book "A History of Rock and Dance Music") The pioneers 1976-78 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. Heavy-metal in the 1970s was Blue Oyster Cult, Aerosmith, Kiss, AC/DC, Journey, Boston, Rush, and it was the most theatrical and brutal of rock genres. It was not easy to reconcile this genre with the anti-heroic ethos of the punk era. It could have seemed almost impossible to revive that genre, that was slowly dying, in an era that valued the exact opposite of machoism, and that was producing a louder and noisier genre, hardcore. Instead, heavy metal began its renaissance in the same years of the new wave, capitalizing on the same phenomenon of independent labels. Credit goes largely to a British contingent of bands, that realized how they could launch a "new wave of British heavy metal" during the new wave of rock music. Motorhead (1), formed by ex-Hawkwind bassist Ian "Lemmy" Kilminster, were the natural bridge between heavy metal, Stooges/MC5 and punk-rock. They played demonic, relentless rock'n'roll at supersonic speed: Iron Horse (1977), Metropolis (1979), Bomber (1979), Jailbait (1980), Iron Fist (1982), etc.
    [Show full text]
  • Disturbed | Primary Wave Music
    DISTURBED facebook.com/Disturbed disturbed.lnk.to/instagram twitter.com/disturbed Imageyoutube.com/user/DisturbedTV not found or type unknown disturbed1.com en.wikipedia.org/wiki/Disturbed_(band) open.spotify.com/artist/3TOqt5oJwL9BE2NG9MEwDa Disturbed is an American hard rock band from Chicago, Illinois, formed in 1994. The band includes vocalist David Draiman, bassist John Moyer, guitarist/keyboardist Dan Donegan, and drummer Mike Wengren. Former band members are vocalist Erich Awalt and bassist Steve Kmak. The band has released six studio albums, five of which have consecutively debuted at number one on the Billboard 200. Disturbed went into hiatus in October 2011, during which the band’s members focused on various side projects, and returned in June 2015, releasing their first album in four years, Immortalized, on August 21, 2015. They also recorded and released one live album, Disturbed: Live at Red Rocks on November 18, 2016, which was recorded on August 18, 2016 at Red Rocks Amphitheater in Morrison, Colorado, located about 10 miles west of Denver, Colorado. Their seventh studio album, Evolution, was released on October 19, 2018. Before David Draiman joined Disturbed, guitarist Dan Donegan, drummer Mike Wengren, and bassist Steve “Fuzz” Kmak were in a band called Brawl with vocalist Erich Awalt. Before changing their name to “Brawl”, however, Donegan mentioned in the band’s DVD, Decade of Disturbed, that the name was originally going to be “Crawl”; they switched it to “Brawl”, due to the name already being used by another band. Awalt left the band shortly after the recording of a demo tape; the other three members advertised for a singer.
    [Show full text]
  • Walking Bass Line Theory Basics PDF File
    Walking Bass Line Theory Basics by Chris Fitzgerald Target Note: a note that is played with the intent to outline a chord in a chord progression, usually on the first beat that the chord appears within the progression. For beginning bass lines, the Root of the chord is the most common target note to play because it is the fundamental note of the chord. Approach Note: a note that leads into a target note in an aurally logical way. Approach notes usually occur on the beat before a target note. Harmonic Rhythm: the rate at which chords change in a progression. In 4/4 time the most common harmonic rhythms are one chord per measure or two chords per measure. It is common for the harmonic rhythm to vary within most chord progressions. When the harmonic rhythm of a progression of a song is two chords per bar, the bass player will often play a target note on beats 1 and 3, and an approach note on beats 2 and 4. The following is an example of a common bass line construction when the harmonic rhythm is moving at the rate of two chords per bar (Target notes are designated with "T", and approach notes are designated with "A"). Ex. 1 chord chord chord chord 4 T A T T A T ? 4 A A (Beat) 1 2 3 4 1 2 3 4 Since the root is the most common target note used in beginning bass lines, a bass line for the following progression could be constructed as follows: Ex.
    [Show full text]
  • Jersey Jazz 3410
    Volume 34 • Issue 10 JerseyJazz November 2006 Journal of the New Jersey Jazz Society Dedicated to the performance, promotion and preservation of jazz. JazzFeast: Where the Square is Hip By Tony Mottola Jersey Jazz Editor PRINCETON — Places don’t get much hipper than Palmer Square in downtown Great food and top Princeton, at least not when JazzFeast holds forth there as it did for the 15th time on jazz acts make Saturday, September 16. More than 20 area restaurants set up shop around the a fresh-air picturesque green serving up delicious food. Meanwhile four top jazz acts served feast for up five hours of tasty music on the nearby outdoor stage. body and JazzFeast regularly attracts a crowd of 5,000 soul. plus music lovers from the tri-state area and this year’s picture perfect weather brought out an especially large, enthusiastic crowd. The music, programmed and emceed by the NJJS’s own Jack Stine, swung from the first downbeat to the last coda. First up were Alan Dale and The New Legacy Band, who marked their 14th consecutive appearance at the event. This is one swinging outfit and they know their way around the Ellington, Basie and Cole Porter songbooks, to mention just a few. The Dale group was fronted for much of its performance by vocalist Bryan Clark. Clark’s look is 21st Century hip and he brings a contemporary sensibility to material associated with the likes of Nat King Cole, Ray Charles, Frank Sinatra and other classic vocalists. He makes the music new and alive with his easygoing and swinging style.
    [Show full text]