Jazz Education

Cecil is a Distinguished Professor of Improvisation at the New England Conservatory in Boston, and has been teaching there for over 25 years.
He also taught at the New School of Music in Manhattan for sixteen years and has led master classes at Harvard University.
Cecil also welcomes individual students for private instruction in his Brooklyn studio for doublebass, theory and harmony, and composition.

related link: www.nec.edu

Private Lessons

Lesson:  60 minutes.
To contact, please e-mail:  lemac1919@yahoo.com
or call: 929 - 210 - 0524. 

Cecil’s string bass education focuses on both the physical and creative elements necessary for the expression of musical tones and ideas. His course of study includes fundamental techniques; the creation of tones, focusing on the right and left hands both separately and together; the choice of tones in the context of accompaniment; and the creation of a confident, individual voice in the context of solo improvisation

String Bass Improvisation - Techniques

For beginners and advanced bassists various left hand disciplines will inspire creative techniques for mobility throughout performance.

Tones - Left Hand

Left-hand disciplines will enable a complete mastery and visualization of all tones on the fingerboard.

Right Hand

Focusing on right-hand pizzicato techniques, instruction will provide various approaches that involve multiple improvisatory concepts for individual and combined fingerings.  After strengthening the index finger and second middle finger, the focus of study will aim to activate the third finger. These innovative techniques provide a strong rhythmic foundation and encourage an individual approach that encourages the development of a personal voice on the instrument.


In the context of accompanying other players in all sizes of ensembles, Cecil focuses on the construction of creative bass lines that support both the group sound as well as individual expression. The student will become adept at the choice of tones at all tempos and in a variety of time signatures and song forms.


Cecil’s approach combines both melodic and more open, abstract modes of expression. Rhythmic variation and the use of silence and chordal overtones help open up new levels of creativity, with a focus on the movement across the fingerboard from tone to tone and from chord to chord. Cecil’s innovative rhythmic techniques work to inspire a unified conception of both hands working in unison to create a confident, expressive dynamic.