4619241
The School Of Agility
4619241
4619241
4619241
Copyright Material for Preview Only - Sheet Music Plus
Chamber Music Double Bass
SKU: CF.BF3
A Technical Method of the Scale System for String Bass. Composed by Eugene Levinson. Perfect. Back To School. Methods And Studies. With Standard notation. 256 pages. Carl Fischer Music #BF3. Published by Carl Fischer Music (CF.BF3).
ISBN 9780825846991. UPC: 798408046996. 9 x 12 inches. Text: Eugene Levinson; Martin Bookspan.
In The School of Agility, Eugene Levinson lays out a bass-fingeringmethodology that reflects a lifetime of experience obtained fromperforming and teaching. Levinson is currently Principal Bassist inthe New York Philharmonic and Chairman of the Bass Departmentat the Juilliard School.His teaching method in this book focuses on developing fingeringsthat will improve rhythm, intonation, and fingerboard agility:Fingering is crucial to proper playing. Violinists and cellistsalways use each of the four strings on their instruments. Bassplayers, even when necessary, seldom do. Instead of crossingstrings in fast passages, there was an inclination to employextra shifts and jumps. This, in my opinion, may inhibitperforming efficiency.
Chamber Music Double Bass
SKU: CF.BF3
A Technical Method of the Scale System for String Bass. Composed by Eugene Levinson. Perfect. Back To School. Methods And Studies. With Standard notation. 256 pages. Carl Fischer Music #BF3. Published by Carl Fischer Music (CF.BF3).
ISBN 9780825846991. UPC: 798408046996. 9 x 12 inches. Text: Eugene Levinson; Martin Bookspan.
In The School of Agility, Eugene Levinson lays out a bass-fingeringmethodology that reflects a lifetime of experience obtained fromperforming and teaching. Levinson is currently Principal Bassist inthe New York Philharmonic and Chairman of the Bass Departmentat the Juilliard School.His teaching method in this book focuses on developing fingeringsthat will improve rhythm, intonation, and fingerboard agility:Fingering is crucial to proper playing. Violinists and cellistsalways use each of the four strings on their instruments. Bassplayers, even when necessary, seldom do. Instead of crossingstrings in fast passages, there was an inclination to employextra shifts and jumps. This, in my opinion, may inhibitperforming efficiency.
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