EUGENE LEVINSON SCHOOL OF AGILITY PDF

The School of Agility is a book by Eugene Levinson (also published by Carl Fischer) which concentrates on improving vital. The School of Agility is a large book of scales and arpeggios in 24 major and minor keys “to introduce the modern bass player to a wide range of fingerings”. The School Of Agility sheet music – Double Bass sheet music by Eugene Levinson: Carl Fischer. Shop the World’s Largest Sheet Music Selection today at Sheet.

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In recent decades, however, a significant number eugenne 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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VC WEB BLOG | Double Bassist Eugene Levinson – “The School of Agility” Technique [BLOG]

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 scohol 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.

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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.

Eugene Levinson’s School of Agility Understanding its Application

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 aility 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 ot 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.