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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Those atonal, grinding exercises that I groused about earlier are actually EXACTLY what we bass players do in orchestra much of the time, and being able to read all of those accidentals across fouble strings is an absolutely essential skill for bass players in an ensemble. Views Read Edit View history.
If poor techniques are ismandl at an early age they are almost impossible to fix. Have I become a Rabbath technique convert, then? I can really only speak as a student at this point. Probably we should study every system to enlarge our possibilities of fingerings. 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.
It sounds like your students simabdl be more than prepared for that, Jason.
Honestly, I love the Simandl Method for what it is. Right know I wrote a small book containing 12 studies very melodic and very fun, wiht a very small difficulty in the left hand and lots of hard work on the bow. One of the difficulties with our instrument is how non-standardized it is in so many ways.
Jason Heath’s Double Bass Blog
The use of the ring finger helps develop advanced technique in the middle register doubel quickly if applied diligence. I still have to work to remember nass after all these years. Many, too many bassists do their job because they learned by Simandl and their stupid teachers. Harmonically simple tunes and basic movements helped with this. 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.
Franz Simandl – Wikipedia
I do the same thing myself. There was an error submitting your subscription. My experience with dimandl is limited—mostly from former students of Rabbath, never with the man himself. Thanks for the post. Also, their school orchestra used a different numbering position than the Simandl book, so I ended up avoiding mentioning position numbers whenever possible.
I believe the result of this journey is a synthetic approach that combines the strongest elements of each set of practices into a cohesive yet open architecture that consistently produces rapid progress for my students… and now their students as well. Even more bizarrely in Book 2 dealing with thumb position he expands the fingering onto the A string fully.
An active double bass performer and teacher, Jason is a member of the Board of Directors for the International Society of Bassists. There are two predominant double bass pedagogical methods in the United States today.
With the imminent publication of the fourth volume of couble method I think some of this will be cleared up. Which is the better?
Rabbath versus Simandl – a comparative study for double bass – Jason Heath’s Double Bass Blog
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 sinandl and less like a percussionist. My teacher started me with Simandl too. I have had many university students who are completely comfortable in the neck positions and a total mess in the thumb positions.
Mark Morton books were the best to get yourself familiarized with fingerings and the simandl was great once you understood the foundations.
This is Rabbath, the rest is: This curiosity moved me to spend most of my 45 years on the bass experimenting with and analysing every approach or system I came across. So all Germany goes on like before. Playing something pleasing to the ear makes a huge difference in how the student feels about their new instrument. Hope this all helps and is of sijandl