Yokasa The single most important thing someone can learn by going to school is how to continue teaching themselves for the rest of their lives. I would love to go out on tour again, preferably with someone I really like. I would do these piano festivals and recitals and I just remember being so nervous. At this point you can have a finished tune or complete CD and never use a single musician for anything. Currently, he continues recording and performing with many artists in the U. Zlap email address will not be published.
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Currently, he continues recording and performing with many artists in the U. How did you end up a bass player? AS: I actually started out on piano when I was 5 or 6 years old and continued until I was 15 or so. I worked through a pretty decent repertoire of classical music and I could play some Beethoven, Bach, Chopin waltzes…that sort of stuff. The best thing was that I learned how to read music at the same time I learned to read words.
I was probably as good a sight-reader at the age of 15 as I am now! I would do these piano festivals and recitals and I just remember being so nervous. At the same time, I was in school and all my friends were getting into rock and jazz by playing guitar and drums. The reason I started playing bass was a combination of my normal personality which was to NOT be the front person in any way and hearing Paul McCartney and Leland Sklar.
The Beatles and James Taylor…that was it for me. It still is in a lot of ways. I never took any bass lessons, so I spent quite a bit of time practicing in the basement.
A year or two later I met a couple of guitar players and we started jamming together and trying to learn tunes. From there we started playing real gigs and that finally led to me moving to Los Angeles, going to BIT and getting more and more serious about becoming a musician and trying to do it for a living. You must have an good story or two you can share. Those first chords were just spine-tingling…wow…here I am doing this tune which, up until then, I had only listened to on the album.
How could I say no to that?! At one point I stood right beside him and duck-walked for about three steps…I made him laugh. The wardrobe lady brought out this long purple beard and gave it to me to wear, which everyone in the band thought was very funny.
Of course there were lots of close-ups. Actually, it was a mega-popular videotape even before the prevalence of DVDs! I was very lucky that I worked with David Schaub who was the producer and real brains behind that particular project.
I could have never done it on my own. David got my name from someone and we set out to make a real instructional video and not just an expensive business card. At that time there were a few books and videos out that covered slap technique but none that sort of broke everything down into manageable pieces and explained it.
People are still watching it and buying it. I got David involved in that because I knew he would do a great job. That was really me creating a project where I would get to work with a long-time hero of mine. Loved it. Rocco and David Garibaldi TOP drummer are one of the most interesting and creative rhythm sections ever. What can a student expect to get out of the training there?
The single most important thing someone can learn by going to school is how to continue teaching themselves for the rest of their lives. Of course the bass program covers all the fundamental music subjects like technique, harmony, theory, reading etc. FBPO: What kind of bass faculty do you have? All the bass instructors at MI are working, professional musicians who do a lot of very cool stuff with a great range of artists. They do sessions, gigs, tours…whatever.
Several of them are also very accomplished arrangers, composers and recording engineers. FBPO: What kind of aspirations do most of your incoming bass students have? Are they realistic? At this point you can have a finished tune or complete CD and never use a single musician for anything. The great thing about modern technology is that now anyone can make an album in their bedroom. The downside is lots of people who really have no business doing something like that…are.
FBPO: How do you help your students find that balance between cultivating their musical artistry on the one hand, while preparing them to make an actual living in the music industry on the other? For me it was all about seriously studying music and trying to play all the time. I love working on tunes and coming up with parts but there have been many times when whatever I came up with was changed and molded and I ended up playing something totally different than when we started.
You have to be open to that. Am I right? I have never stopped playing out and doing gigs, sessions and whatever else comes along. Working at MI is only part of my musical life, as it should be. By playing and working as a musician you bring a much more realistic and believable perspective to teaching. I also think it validates you as an educator since students will listen when they know you have professional experience.
At least not when it comes to music. I would love to go out on tour again, preferably with someone I really like. I like a good tune. A good singer. Learn more of the software I have on my computer. FBPO: What kinds of things do you like to do that are not necessarily musically oriented? Other than music, I like to spend time riding my mountain bike and hiking. Related Posts.
ALEXIS SKLAREVSKI THE SLAP BASS PROGRAM PDF