Course Syllabus

I. Allegro

Edwin Barker presents the Koussevitzky concerto in a late-romantic performance-practice style, using Koussevitzky's own double bass. In this first movement, Edwin thoroughly explores fundamental phrasing concepts, especially in relation of beat hierarchy and pulse; vibrato usage for expression; and expressive vocal leaps in a melodic bass line. It should be noted that he is playing in solo tuning (F-sharp - B - E - A).

II. Andante

In the second movement of Koussevitzky's Concerto, Edwin Barker gives us insights into ideas like rubato, musical momentum, and appropriate ways to bring a historically informed performance of this early-1900's work to life. It should be noted that he is playing in solo tuning (F-sharp - B - E - A).

III. Allegro

The symetrically similar third movement presents us with many of the same musical challenges as the first. In this lesson, Edwin Barker goes over a few changes he makes to differentiate this movement from the first in the opening cadenzas, including use of time. Edwin also looks more carefully at what differentiates a sophisticated musician from someone more at a student level, in terms of avoiding accents due to poor bow techniqiue considerations. It should be noted that he is playing in solo tuning (F-sharp - B - E - A).