EUGENE LEVINSON SCHOOL OF AGILITY PDF

In recent decades, however, a significant number of virtuoso double bassists has emerged and, along with them, significant new solo works have changed the way the instrument is played and heard. These luminary bassists devoted much of their careers to developing a new pedagogy for the double bass in an effort to compensate for centuries of pedagogical deficiency. One of the leading figures in this movement to advance the double bass as a solo instrument is Dr. What sets him apart is that he has total technical control of the instrument, meaning he is able to beautifully play pieces on the double bass previously thought to be impossible. While many once considered the bass a clumsy and ugly instrument, Levinson plays his instrument on a par with celebrated soloist like Yo Yo Ma, Joshua Bell and Jascha Heifetz.

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In recent decades, however, a significant number of virtuoso double bassists has emerged and, along with them, significant new solo works have changed the way the instrument is played and heard.

These luminary bassists devoted much of their careers to developing a new pedagogy for the double bass in an effort to compensate for centuries of pedagogical deficiency. One of the leading figures in this movement to advance the double bass as a solo instrument is Dr. What sets him apart is that he has total technical control of the instrument, meaning he is able to beautifully play pieces on the double bass previously thought to be impossible.

While many once considered the bass a clumsy and ugly instrument, Levinson plays his instrument on a par with celebrated soloist like Yo Yo Ma, Joshua Bell and Jascha Heifetz. Many of his students have gone on to win positions in many of the greatest orchestras throughout the world and to teach at prestigious schools of music. Central to the success of Dr. Levinson and his students is his highly advanced and progressive techniques, which open up the bass as a beautiful and pleasing instrument even to the nonmusician.

In Levinson published a method book entitled The School of Agility where he explains his technique. The primary method of preparation and research was mentored study with a master teacher.

We had a series of ten lessons over two weeks. I prepared for the lesson by thoroughly studying Mr. Concerto for Double Bass Op. Despite my thorough preparation I was taken aback at how rigorous my first lesson with Levinson was. His philosophy seemed to be based on tearing down old habits and techniques then rebuilding based on his technical approach.

Our first lesson was primarily a rigorous critique of my bad habits. The rest of the lessons were spent explaining the ideas behind the new techniques I was learning. For example, Mr. Levinson had me learning his new fingerings and bowings for the Koussevitzky Concerto and told me my assignment for the next lesson was to have them down near-perfectly.

Some may view this pedagogical approach as harsh or un realistic but it motivated me to rise to the occasion. I made more tangible progress in those two weeks than I had in the last two months. After I returned home in August of I began to prepare for my junior recital. After I gave the recital I was impressed with how fast I had learned the repertoire and at how high my level of performance was. I attribute this success, in large part to my time spent working on this project.

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VC WEB BLOG | Double Bassist Eugene Levinson – “The School of Agility” Technique [BLOG]

Be respectful of artists, readers, and your fellow reviewers. After I gave the recital I was impressed with how fast I had learned the repertoire and at how high my level of performance was. In Leningradhe eugdne became a member of the Leningrad Philharmonic Orchestrawhere he played for almost sixteen years, and was Principal Bass of the Leningrad Chamber Svhool for thirteen years. If you believe that any review contained on our site infringes upon your copyright, please email us. Do you like the artist?

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