I always welcome new students. You will find my rates to be highly competitive; this is despite the international reputation that I have built up over the years.

In understanding doublebass pedagogy, you will find that there are many “forks in the road.” Several examples include the Simandl Method (for many years, considered the “Bass Bible.” Franz Simandl, or Frantisek Simandl [the Czechs claimed him as well as the Germans] is great for a basic understanding of our instrument).

However, many of the etudes are remarkably robotic and boring. I usually switch over to the Bille “Nuovo Metodo,” an Italian series with much more interesting etudes. The old Italian fingering system seems very strange to most bass players today, so many if not most of the fingerings need to be changed. I have struggled with the Suzuki method for bass. Many of the ideas are wonderful, but they are unwaveringly strict at following the methods that they outline and many pieces can only be rendered in a stiff and unmusical fashion using that method. I choose to cull my ideas from a number of sources, give the student some choices, and proceed as I see fit in order to best benefit that individual student.

Doublebasses can be played with two different types of bow — French and German. I play and teach both. I also teach jazz pizzicato (plucked) and have learned from many of the best bassists on the planet!

Former students have played with the Lyric Opera of Chicago, the Chicago Symphony, and have toured with significant jazz ensembles.

In addition to teaching the bass, I enjoy teaching young kids how to skate and play ice hockey at the local rink here in Evanston — my “Pygmy Ice Zombies.” Many people have referred to me as a “Kid Magnet.” See how your child responds to a teacher like me!