Ben’s Blog

I’m re-reading the first Artist Way book right now and really enjoying it. It’s always relevant and practical. There was a discussion of creative u-turns that you take in a life and how to work through those and process them productively.

That made me think a lot about cello actually. When I started getting really into bass I really stopped playing cello much. I was about 14 at that point. I remember having quite a meltdown with my cello teacher at that time. She could tell I was losing focus on cello and wasn’t practicing. I’ve thought about that over the years, and figured that she thought I had potential on the instrument. I’m honored that she thought that. But, what if she knew that I was taking a creative u-turn?

I think of all my work on bass over the intervening years, so much of it focused on playing my bass like a cello. Tuning in 5ths for years, trying to fit in with a string quartet. I was enticed by the challenge on the instrument. And the greatest bass players, like RGF and Edg@r M3yer can do it. But, that’s been a frustrating path for me, I just can’t make a bass sound like a cello.

I started thinking about this a bit because I think I’ve got at least two violinists at work that may want to work on some Corelli concerto grossi. So, as I thought about how I would cover the cello part I thought about gamba, and it would be a lot of fun to try on that, but I don’t quite have the low range, so I’m thinking “well, maybe I can use the 7-string if that’s available” (that would give me the low A string), or “I’ll bring my bass and play on that”. So, I’m going through all these machinations to make it work. Finally, it just occurs to me, “just get a cello!”.

About this time last year, I bought a VERY cheap cello, or I should say “violin shaped object” (VSO), so I’ve been thinking about this for awhile. That instrument ($50) was just too junky though, it had no tone to pull out of it. To make a food analogy, it was like eating a cardboard box when expecting pizza.

So, this time, I will get a decent instrument. I went on Johnson Strings website and looked up a 3-month rental of a “master” instrument, and I bet those are pretty nice. I’ll go down in a few weeks and play one, and maybe go for it if I don’t end up with the 7-string gamba this fall.

Anyway, that’s a long way of saying how productive I find the Artist Way book. Creative u-turns happen, but it’s important to deal with them productively. Rather than worry about not playing cello for the last 20 years, I just focus on maybe getting a decent instrument and seeing where it takes me.

And, I’ll have to look up my old cello teacher sometime. She’s had a really successful career, moved to Montreal and is very active on the thriving early music scene up there from what I hear.

bentorrey :: Aug.24.2008 :: Musical Thoughts :: No Comments »

Having switched day jobs, I now take the T to work, and I find myself with a nice 20 minutes each way on the subway. I’ve found a pretty nice musical use for that time, using it at times for “practice” of sorts by reviewing scores while listening with my iPOD, or for specific session prep.

In the case of a recent session of Dowland with the Wednesday night group, I did all my “practice” for the session on the subway. I got the music about 5 days prior to the session, but didn’t have time to sit down with my gamba with it. But, by studying the music on my train rides in, I was able to work through most of the issues I had with the music, and did quite fine at the session. Now, of course, I should have made time to be better prepared, but in the case of the early music stuff, my probably is always more about reading the different time signatures and note values, getting the syncopations, understanding the phrasing and considering the bowings, and all of that stuff I can do away from the instrument just fine.

Over the last few weeks some of the scores and audio I’ve been listening and studying on my rides in/out of the city include the Marcello cello sonatas, the Bach gamba sonatas and cello suites, Beethoven 7, and the Corelli Concerto Grossi 2,6 & 8.

All in all, a pretty great way to get to work and has made for some interesting conversation in the elevator at work. In fact, there may be a string quartet forming there at some point.

bentorrey :: Aug.20.2008 :: Filling the Form, The Life Pie :: No Comments »

I really enjoyed Barry Green’s second book The Mastery of Music Ten Pathways to Musical Mastery.

Each chapter focuses on an instrument family and characteristics typically embodied by those musicians. It’s a lot of fun to read, and points out some real fundamental truths that are quite funny to consider. Like, has anyone ever heard of an oboist being late to a rehearsal? That’s just a laughable thought. Of course they’re never late, who would anyone tune to? But, back up and think about what it means to be an oboist, and what can you learn from someone like that is a really cool thing to consider. I also really dug the viola chapter.

They are definitely ten characteristics that are really valuable to think about, and I highly recommend reading this book.

bentorrey :: Aug.20.2008 :: Books I Enjoy(ed)/Will Enjoy, Musical Thoughts :: No Comments »

A few of the reasons that I love my electric acoustic bass so much came together for me in quick succession between yesterday and today.

First, having an acoustic is so great for an event like yesterdays. The Boston Classical Guitar Society has these performance parties that are the closest thing to the “Classical Music Open Mike” thing I’m always looking for (and have thought to start). Anyway, it’s so great to be able to show up at one of those and just play, without bringing an amp, which really just wouldn’t fit the vibe and spirit of things. I had a great time yesterday and played the Prelude from Cello Suite No 1 in G and I also played the Bourree from the Lute Suites.

Second, this morning I was getting set to practice some repertoire for my fall recital, but my EAB was downstairs from an evening practice session. I took my electric 6 off the wall for the first time in probably 3 months or so, and practiced (un-amplified as I always do). I couldn’t believe how easy it was to play. I was gliding through the pieces, it was so easy on my hands! The frets were so forgiving. It was literally like the difference between skating and walking, going from the EAB to my electric. I realized that I have to “touch base” with my electrics a bit more regularly, as much as I love my EAB. And, for performance on the harder pieces, even stuff like the Bourree, I need to use my electric. But, the hard work of playing the EAB really sets that up, and I’ll continue to do play it as my primary bass.

Third, like a classical guitar, the EAB puts you in full control of generating all your sound. A few players yesterday grabbed my instrument and pulled more sound out of it than I’ve ever heard coming out of, just from being used to that as musicians. Looking not to any amps or electronics, just find the sound you’re hearing, and pull it out any which way you can.

Unrelated to this post really, but here’s a practice clip of Cello Suite 6 Prelude that I recorded a few months back. I haven’t tried this on electric in a long time, but I bet it would flow a lot better thanks to this (pretty rough) practice.

bentorrey :: Aug.10.2008 :: Musical Thoughts :: No Comments »

I got a question recently from a new reader of my blog, Vernon (thanks for reading!), about repertoire to try for electric bass with piano accompaniment. As I thought about that a bit, I thought about the Bach gamba sonatas, and then I though about the Marcello Sonatas. I played these as a kid on cello, playing the No. 6 in G Major at a recital in 6th grade. Although that was 24 years and an instrument ago, I decided to take a look at that one first.

What a great piece, this will certainly work well for bass and piano, some of the tempos might need to be adjusted down a bit, but definitely give it a look.

Here’s a few suggestions to help get you started:

1. Get a great recording and dig in listening to it
I found a great recording of all 6 sonatas at arkivmusic.com. EXP0012, a recent cd release of a 1978 recording. Anthony Pl33th, Richard W3bb and Christopher H0gwood. Absolutely fantastic. They really dig in and bring the pieces to life, with beautiful embellishments and ornamentations.

2. Grab the score
I found a great copy of the score at EveryNote.com for $2. A great edition that includes separate solo and continuo parts, and even has figured bass notation, which is always fun to look at.

3. Study the accompaniment
I don’t always have time, but if I’m really into learning a piece and adding it to my repertoire, I’ll generally study the accompaniment quite a bit. That’s probably pretty obvious, but I thought to mention it just in case. I’d take about 3 passes at working through the accompaniment. First, I’d hack through it on piano, I always need work there. Second, on bass I’d try two different approaches. First, assuming the continuo had the bass line covered, I’d work through the voicings in the right hand piano part and see if I could play those with a fingerpick approach, using reductions where necessary to keep the tempo and pulse going. Then, I’d also take a stab at doing the continuo part with my left hand, and very reduced voicings in my right hand. I had the best luck with that approach in the Grave movement and might post some of that video, although it’s a bit rough. That’s really fun though, because you get to practice your accompaniment skills, and your thoughts on voicing reductions will really help you learn the melodies.

4. Play the cello continuo part
This recording is like a cello continuo masterclass. Notice how much he’s playing that isn’t in the score. For example, the pickup that brings the group back for the second A section of the opening Adagio movement. Play the cello continuo part along on your electric or upright bass. I have the ridiculous luxury of having a gamba right now, and it’s been a blast to play along on gamba.

5. Have at it on bass
Having done all that, have at the cello part on electric bass. They are really fun, and at the tempos taken, quite a wild ride on bass. I really shouldn’t post any of this on YouTube; It seems like anything you put on YouTube is assumed a “best effort” thing. But, actually, I like to post practice stuff, because I think it’s informative.

Well, here’s a practice clip (A=415) of the closing Allegro A section that is pretty rough. I haven’t quite memorized it, and this is 10-20 clicks faster than I’ll probably ever play this, but it’s not too bad and should give you some idea of the approach I’m taking. I’ve got the A section in pretty decent shape, but the B section has a few tough fingerings, bar 33 with the F#7 chord there. So, I cropped this recording after the A section, although I did pretty good in the B section. Love that end bit (46-50) that’s got a real Iron Maid3n/Billy Sh33han type vibe.

bentorrey :: Aug.03.2008 :: Repertoire :: No Comments »

I had no idea this fantastic book of Scott LaFaro solo transcriptions by Phil Palombi was available. I was reading the BassBooks.com email newsletter and it jumped off the page at me. I ordered it right away.

I’ve had a really great time working through some of the solos in Waltz for Debby. The transcriptions area incredibly well done. I highly recommend this for any Scott LaFaro fan.

During college I studied these two albums really hard, and in fact, I transcribed most of the albums BESIDES the solos actually, and I’ve been looking for those manuscript books for my own reference.

Scott LaFaro’s melodic approach was so unique, and the space that Bill Evans gave him to explore his musical ideas was just so special. If by ANY CHANCE, you don’t have these two records (Waltz for Debby and Sunday at the Village Vanguard), go get them right now!!! Then, get this book. Dig in and study one of the greatest masters ever to play bass.

bentorrey :: Aug.01.2008 :: Books I Enjoy(ed)/Will Enjoy :: No Comments »

I haven’t posted much bass stuff of late, mostly because I’ve been working on gamba and upright this summer. But, I’m always relating things I’m working on back to electric bass eventually.

Here’s a practice snippet of the Allegro from gamba Sonata No. 2 in D Major. I’m playing along with the definitive recording by J0rdi S@vall and T0n K00pman (A=415).

Throughout this piece one thing that really helps is to think about extensions within a position, spanning 5 or 6 frets within a position. For instance, in the first few bars I’m playing a position that spans 5 frets. And, in the 3rd measure, I’m barring the 14th fret with my first finger, that really helps too. Later when I hit that high A, I’m just stretching for it, but really remaining in position. Going for stretches and extensions within a position, rather than thinking about shifting too much.

Not a very good take, but take a listen anyway, and below there’s a start of a quick transcription to show my approach to the fingerings.

If you’re looking for an edition, I would highly recommend the Dover ISBN 0-486-25641-3, which includes the cello suites. www.doverpublications.com.

bentorrey :: Jul.26.2008 :: Musical Thoughts, Repertoire :: 2 Comments »

One hot summer day between my junior and senior year in high school (1989), I was mowing the lawn and my friend Pete pulled up in his Jeep. “We’re going to see the Who at Sullivan Stadium! Jump in,” he says. “But Pete, we don’t have tickets, forget it man, I’m not going,” I said. “Jump in!” he said. I couldn’t take no for an answer; I had been around Pete enough to know that sometimes you had to follow him on these types of journeys. “All right, let me finish up the lawn and tell my Mom,” I said.

Anyway, so we drive to the show, park like 2 miles away, walk over there, and just as we’re getting to the stadium, we can hear them starting with Pinball Wizard. Just as we’re starting to wonder how we’ll ever get in, a stretch limo pulls up to us. A windows slides down and a guy says, “Hey, you guys need some tickets?” “Are you kidding?” we exclaim. “How much do you want for them?” we ask. “Nah, kid, take ‘em. Enjoy the show”. And, that we did. Unbelievable.

Looking back on that really cool happening, two things come to mind.

First, I love the idea of living life like Pete did in that example. Sort of a general belief that the universe will make whatever you want to do available for you. What if I lived (just) a bit more like that? Took a few more chances, believed in great outcomes happening. Had some faith that it would all work out. What would I try if I believed like that?

Second, I miss my friend Pete. Pete and I played in a band together at that time. We played a lot of fun Who stuff, some Steely Dan and Donald Fagan stuff, a lot of his original songs too. I remember him insisting that I sing backup vocals with that famous persistence. “You’re singing backup vocals!” You just couldn’t say no to Pete. “OK, I’ll try.” After high school we sort of drifted apart though. He had moved out to Colorado for music school somewhere and become a music teacher from what I heard. I’ll have to look him up and get back in touch. I’m sure he’s got a lot of great stories of his faith being rewarded, and I’d like to thank him again for teaching me such a great lesson years ago.

bentorrey :: Jul.25.2008 :: Stocking the Pond, Filling the Well :: No Comments »

OK, so here’s my latest crazy idea. What I’d like to do is setup a 6-week online course to discuss playing a Bach Cello Suite on electric bass. Sort of a peer-to-peer discussion, with me sort of leading the discussions. We’d spend a week on each movement of a suite (starting with # 1), “meeting” 1 night a week via video chat. We could record the video chat sessions and post them to a Moodle site where we could post practice takes and ideas for fingerings and etc.

I think that would be cool and very do-able, now is there anyone who would like to do that with me? Current thought is to do it 6 Monday nights in a row, probably at 9PM EST.

I should probably also mention the basics of my approach to playing Bach Cello on bass, which includes a high C string and playing the music in the range written. I’ve got scratch tracks of suites 1-5 online if you haven’t checked that out.

bentorrey :: Jul.09.2008 :: Repertoire :: 3 Comments »

I had such an awesome time up at the Early Music & Country Dance Week last week in NH. An entire week of great coaching from awesome staff, great fellow student musicians, beautiful nature scenery, incredibly beautiful music. It was fantastic, I could have stayed another month!

I brought my bass gamba and focused on that for the week. I feel like I’m gaining some ground in “reversing” my bowing and getting comfortable with the bowing, which for me has been the hardest part of the gamba ramp up. (if you don’t know what I mean, in gamba bowing the up bow is the emphasis stroke that you start most phrases with, not the down bow, but you call it a “push” bow, “pull” is toward you.)

The staff and fellow students were also really encouraging about the electric bass stuff I do, and I played the Bach Cello Suite 1 Prelude at Friday’s night’s fun night concert on my EAB. Not the best version I’ve done, but it was fun to play and people dug it.

I can’t wait for next year, and hope I’m really comfortable on gamba by then!

bentorrey :: Jul.03.2008 :: Gamba, Musical Thoughts :: No Comments »