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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These tunes pulled from the Suzuki method and the sequence in which they are introduced make for a powerful sequence, and it is nice to have bass players learning the same melodies that all of the other string players learn—it makes them feel more like a string player and less like a percussionist.
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.
New Method for the Double Bass (Simandl, Franz)
I went through the Essential Elements Hal Leonard series which teaches all the strings of the orchestra essentially the same material at the same pace. Although the book was Rabbath technique through and through Rabbath himself plays on the accompanying CDs I already started to see the possibilities of this method. Looking forward fr more. One of the difficulties with our instrument is how non-standardized it is in so many ways. This combination has ultimately been the most successful comprehensive double bass pedagogical sequence for me—Vance for beginners and intermediate students, and Simandl, ochestral excerpts, and the traditional double bass repertoire Koussevitzky, Dittersdorf, Bottesini for advanced students.
I can really only speak as a student at this point.
Mark Morton books were the best to get yourself familiarized with fingerings and the simandl was great once you understood the foundations. Thanks for your work blogging, your place its helping a lot for the world bass comunity Andres…. Doubel is important for bass students since we can only span a whole step in our normal position.
This tried and true double bass pedagogical tome methodically takes the beginning double bass student up the fingerboard, half-step by half-step, exploring all of the notes in each position and connecting the new positions with the old positions in various etude and scalar studies.
Even more bizarrely in Book vouble dealing with thumb position he expands the fingering onto the A string fully. Read the follow-up post to this article with special blog guest John Tuck. Ill definitely check out the Vance. Probably we should study every system to enlarge our possibilities of fingerings.
30 Etudes for the Double Bass (Simandl, Franz)
I completely agree that Simandl dobule be treated as an advanced text. Simandl is useless in explaining things, apart from the surreally badly translated instructions in how to stand, hold the bow and finger positions. The Suzuki method is so commonly taught for the other stringed instruments that it is the de facto sequence for the other stringed instruments, but very few double bassists are taught using this sequence.
Thanks for the post. This bloody awful set of tuneless exercises left me frightened of anything beyond keys closely related to C major and any position beyond first. Hi Jason, I was just wondering, has your opinion of the Rabbath technique changed since you had a lesson with Sturm? Simandl’s “New Method” of playing, now over simando century old, is still common among classical double bassists,  although the book itself is slowly being replaced by newer methods which incorporate modern pedagogical theory.
Just came across this article. Thank you Professor Heath! This is the problem, not Rabbath. The second volume also delves extensively into the playing of harmonics. I completely agree with you about the Boring thing when starting bass studies.
Rabbath versus Simandl – a comparative study for double bass – Jason Heath’s Double Bass Blog
It was not a method per se but was a great collection of fun stuff for students to play! One of my double bass tutors started me on simandl. Playing something pleasing to the ear makes a huge difference in how the student feels about their new instrument.
I have never tried Vance Progressive Repertoire books.
Many of his ideas seem ill-conceived to me, from his advocating collapsing of the left hand fingers to his extremely specific ideas regarding instrument shape and size, the use of the French bow, and advocacy of bent end pins. The Simandl New Method teaches a bass player all of the necessary skills to play orchestral music. Now, I still do start my students with Simandl, but I write my own little pieces for them to play too. Introducing this region early to bas students eliminates the traditional fear and discomfort of the thumb position.
Here is what I like about this method: Combined with the pieces I was learning for orchestra to keep myself interested, that is. Rabbath is a total revelation by comparison, and makes a very good contrast.
Hi Jason, very perceptive comments on these methods. As I write this post, I am in the middle of composing an article on a fresh look at the double bass fingerboard that includes a system for labeling positions that is simple, logical and descriptive.
I started out learning the double bass from a student of the orchestra that I used to play in. I show a bass-pupil the many possibilities of a certain fingering and tell him: Progressive Repertoire Simandl, Franz: