Lessons

From a parent (9/24/13) :

[Student] tells me he won first chair bass, and he’s the only freshman in his bass section! Thank you for all your good work with him!!!

 

Studio Information

I teach out of my apartment in Oak Park, IL. I have plenty of room for the student’s bass as well as mine. Parent’s are welcome to stay if they wish – some do, some don’t and either way is fine with me. I have 20 years of teaching experience and am certified to teach public school in New York State and Illinois. I am primarily a classical player but I do have jazz experience.


I am currently a German bow player but played French style for 12 years.

I also play and offer bass guitar lessons. Electric bassists do not need to bring an amplifier.

 

I am available for lessons via Skype/Video for players not in the Chicago area.

Why study with me?

1. My students excel. Recently a student received a full scholarship to Illinois Wesleyan College. Other students have become conductors, string teachers, as well as pursuing other degrees including medicine.

2. I’m a teacher AND performer. I have a degree in each and I enjoy both.

3. I’ve studied with a wide variety of teachers and players.

4. Lessons are productive, focused, yet relaxed.

5. I’m organized and have a curriculum.

6. I provide a well balanced musical diet.

 

As a parent, I appreciate the diverse qualities Peter brings to his teaching, beyond his enormous talent as a bassist. He provides carefully crafted structure and method, while being flexible and generous with his students. – Polly S., parent

 

Taking bass lessons with Mr. Tambroni since 8th grade changed my bass playing from something I did at school to something I wanted to do at school and beyond. My bass playing not only improved immensely from lessons, but Mr. Tambroni introduced me to the Elgin Youth Symphony Orchestra, Bass festivals, Bass players from around the city, and experiences that made me the bass player I am today. Going into my second year of college as a music education major, Mr. Tambroni steered me in the right direction on choosing a college and made sure I was prepared well enough to get in everywhere I auditioned. Thank you Mr. T for the positive influences you share with me. – Todd A., former student

Pricing & Payment

1 hour lesson – $80

45 minutes – $60

30 minute – $40

Please pay in cash at the time of the lesson.

I recommend that new students begin with a 45 minute lesson and we can evaluate the student’s needs from there.

Cancellation Policy

If you need to cancel please give at least 24 hours notice. Let me know as soon as possible so we can find another time slot for the student.

Of course, I do understand that emergencies do occur. Just drop me a quick text or email so I know what’s going on.

 

Practicing & Preparedness

Students are expected to put forth effort and persistence! Any skill in life takes time to develop. You just have to keep at it. However, I do reserve the right to discontinue lessons if the student is repeatedly unprepared / not practicing.

 

Instruments

Students should bring their bass to each lesson unless other arrangements are made with me.

If you need to rent an instrument, contact for me rental recommendations.

 

Books & Materials

I use the following texts that students will need to purchase if they continue studying. You can purchase them from anywhere you’d like – the links are provided as a convenience.

I begin with these WHICH YOU SHOULD PURCHASE AS SOON AS POSSIBLE:

“Practical Studies for the Double Bass” by Thomas Gale


New Method for the Double Bass, Book 1 by Simandl

Also please purchase the a composition notebook – NOT a spiral bound.

The above 3 will definitely be used and you will probably be asked to purchase the Sevcik below. Sevcik School of Bowing Op. 2….There are many editions of this available. Only buy the Neil Tarlton edition.

Additional texts may be required such as: Melodic Foundation Studies by Thomas Gale Etude books such as Slama and Hrabe. Scale Studies by Schwabe / Zimmerman. A Contemporary Concept of Bowing by Frederick Zimmerman. Excerpt / Orchestral Study books by Zimmerman. Other solos.

 

Curriculum

I believe in a balanced musical bass diet for optimum musical nutrition 🙂

Before I begin my curriculum I want to build upon what the student has been working on. There is no reason to ignore the work they are doing in school.

I approach the entire fingerboard in a scaffold approach. I’m a firm believer in the traditional -albeit boring- Simandl method. Every student that uses this has a firm grasp of notes on the fingerboard and their position / relationship to each other. However, Simandl starts in half position and slowly works his way up. This creates an imbalance where students are very comfortable in the lower positions and lack confidence in the upper register. Supplementing this with Thomas Gale’s “Practical Studies” which moves from I to IV positions using solid reference points gets students shifting – and shifting IN TUNE. This creates flexible left hands and fingerboard knowledge. Soon after adding in some reference points in thumb position (and filling in this scaffold with Simandl) creates a bassist that is comfortable, solid, and even throughout the register of the bass.

 

Scales Studies

Scale Studies by Schwabe / Zimmerman

My scale sheets that I will distribute

 

Method Books

Any school methods they may be using

Simandl – books 1 & 2

Practical Studies, Melodic Foundations – by Thomas Gale

 

Etude Books

Sturm

Slama

Storch

Bowing / Right Hand Books

A Contemporary Concept of Bowing by Frederick Zimmerman

Sevcik School of Bowing Op. 2 – Neil Tarlton edition.

Orchestral Excerpts

This is a vital aspect of the aspiring bassist. I address as soon as possible or necessary with skill appropriate and aspiration appropriate literature.

Early starting points include looking at what the student may currently be playing in ensembles, the literature at the end of Simandl book 1, the Zimmerman collection of excerpt books, and current audition requirements of professional organizations and colleges.

 

Solo Literature

This is a very personalized approach where we choose solos based on factors such as:

  • what solos can help the student progress
  • are there any upcoming events we need to be thinking about – like school solo festivals
  • current status of playing / desired level of playing
  • standard solos often asked by audition committees or colleges
  • working on both slower legato solos as well as faster pieces

Contact Information

Peter Tambroni
tambroni AT gmail DOT com