Franz Simandl (August 1, – December 15, ) was a double-bassist and pedagogue most remembered for his book New Method for the Double Bass. The older, established double bass method here is without a doubt the New Method for String Bass by Franz Simandl. This tried and true double bass. F. Simandl – New Method for Double Bass (Max Ebert).pdf – Ebook download as PDF File .pdf) or read book online.

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But what I can say is that I wish I had had a more bass-specific technical background simadnl a younger age. I know, 90 is a number that scares everybody — simanfl most of them are not longer than half a page? I still work on the Etudes and exercises out of these books, and can also admit, that because I am not a beginner by any means, the Simandl method proves it self infinitely more relevant to anything else I am working on, be it orchestral or solo.

Harmonically simple tunes and basic movements helped with this. Dan Swaim did a wonderful job putting together the Suzuki bass books. I could never imagine learning a quarter from the books about the Rabbath technique as I have learned from my teacher.

Jason Heath is the host of Contrabass Conversations, a podcast devoted to exploring music and ideas associated with the sinandl bass.

Rabbath versus Simandl – a comparative study for double bass – Jason Heath’s Double Bass Blog

Hope this all helps and is of interest! It would certainly be very difficult to make signifcant progress in the Rabbath technique using a large, wide shouldered, heavy bass with a straight endpin. Sorry for my no correct English, but I listen today to young students which play better and better which one or the other system.

I tell my students first of all that the excercises are not designed as great music. I have never tried Vance Progressive Repertoire books.


As I had student after student play them for me in lessons I have taught a LOT of private lesson students I came to two conclusions:. Rabbath is liberation of old minded teachers and players. This exactly how I am now teaching- Vance to get em going and learning musicality, Simandl to clean things up later.

The hope is that the will find inspiration in the beautiful melodies. I welcome any comments or suggestions on other double bass methods or pedagogical sequences that other double bass teachers have found bas.

Thanks for your work blogging, your place its helping a lot for the world bass comunity.

I was surprised at the way the double bass positions were introduced and explained but was immediately interested. One will help you more than the other and one may hinder you more than the other. I completely agree with you about the Boring thing when starting bass studies. Also, my beginning 4th grade students had a terrible time reading the sharps and flats that Simandl put into even the very beginning of his materials.

If you you want to kill the musical enthusiasm of a 3rd or 4th grader give them Simandl.

Subscribe simndl get our weekly newsletter covering the double bass world. Hi Jason, I find your article very interesting you posted some of my videos long time ago.

Jason Heath’s Double Bass Blog

Simandl is useless in explaining things, apart from the surreally badly translated instructions in how to stand, hold the bow and finger positions. My experience with it is limited—mostly from former students diuble Rabbath, never with the man himself.

Mark Morton books were the best to get yourself familiarized with fingerings and the simandl was great once you understood the foundations. There was an error submitting your subscription.

30 Etudes for the Double Bass (Simandl, Franz)

The Simandl New Method teaches a bass player all of the necessary skills to play orchestral music. Even as my real private lessons began in high school, I was not highly exposed to any specific method, but rather bits and pieces of several. I had several years of experience teaching know and tried with several different methods.


In contrast, the six Rabbath positions are based around the major harmonics on the bass and are extremely easy to remember. I find the biggest issue with teaching especially, young students is that you and they are always under the gun to learn the music for the upcoming concert…orchestra or solo. And it really is hard to accept this.

My 4th graders had just learned the D scale in school and old man Simandl was having them grind away on atonal and they really are atonal exercises with accidentals galore. Then on to the tune where elements of these technical exercises can be re introduced to solve a particular technical issue within a given solo.

Have I become a Rabbath technique convert, then? As I had student after student play them for me in lessons I have taught a LOT of private lesson students I came to two conclusions: Simandl has the students grinding away at half steps in non-melodic patterns the first time they put down their fingers. In my teaching I am going to try to mix it up more. Long discussions of technical issues are to be avoided at all costs. The first page of the Half Position exercises, for example, already introduces double sharps.

This was a revelation. Here is what I like about this method: The second volume also delves extensively into the playing of harmonics. Even more bizarrely in Book 2 dealing with thumb position he expands the fingering onto the A string fully. Vance presents the students with measure pentatonic tunes. Ill definitely check out the Vance.

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