I love to ask new students why they chose to play double bass.
It’s awkward and bulky. Getting it into the car can be a wrestling match. But many kids find the instrument irresistible!
Some want to play jazz or in an orchestra. Others are drawn to its generous size and shiny curves. The youngest children are intrigued by deep sounds and vibrations.
They all want to play an instrument that’s just a little different.
And double bass really is different. It requires a technical approach focused on building strength and balance that parallels developing musical skills and expression. With consistent focus in both areas, students quickly become confident and enjoy playing.
Music lessons help young people learn to find balance in their lives.
I understand what it’s like to be a busy parent. We want our children to have every opportunity to explore what interests them. We also want them to have time to just be themselves.
To make progress, practice has to be consistent. Together we set realistic goals, then plan daily small steps towards achieving them. These problem-solving skills benefit students throughout their lives. And in the process they develop a lasting appreciation of the arts in our society.
How I Teach
I teach double bass lessons using the Suzuki Method and the George Vance Progressive Repertoire. Both are based on the concept that young children learn to speak their native language by listening to it many times and by repeating individual sounds over and over.
Playing by ear and from memory allows students to focus on musical expression and good technique. We work on one thing at a time and review frequently so that each technical and musical concept feels easy. As soon as children are learning to learn to read and write, we start to read musical notation as well.
Very young beginners may spend a year learning songs and skills in the “Pre-Twinkle” phase. Older beginners and those who got started in school lessons generally move through this repertoire fairly rapidly with consistent practice. We cover a wide range of positions quickly so that students get used to navigating the entire fingerboard. Students who have moved beyond the Progressive Repertoire dig deep into double bass solo and orchestral literature to further develop technical facility, musical expression, and artistic interests.
My story
I found my passion and my life’s work through a happy accident.
My musical journey started via the excellent program and supportive teachers in the Haverford Township School District—the same schools my two children and many of my students now attend.
When I was in sixth grade, all of the double bass players in the school orchestra had dropped out. The school had instruments and needed volunteers, and it seemed like a good idea to me. I probably wouldn’t have picked double bass on my own. I'm certainly glad it found me!
Early in my professional career, I shifted my focus towards early music and historical performance practice. I love the energy and creativity in this approach to the music of Mozart, Bach, and their predecessors. And I enjoy playing a variety of chamber music works with smaller forces in addition to large-scale orchestral performances.
Here’s what parents are saying:
“Heather is a wonderful mix of patience and passion. My son loves his lessons, loves playing the double bass, and loves his teacher.”
“Thank you for being Aydan’s teacher. It is really quite incredible to see and hear how much his playing has improved thanks to your guidance and encouragement.”