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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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. 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.
I am a conductor, composer and double bassist with an active performing and teaching career. Rabbath is liberation of old minded teachers and players.
Simandl has the students grinding away at half steps in non-melodic patterns the first time they put down their fingers. If I could do it again I would have all of my beginner students start with the Vance Progressive Repertoire books. I told him that I have simando two Simadl books. The down side is my students are all poor readers, But this seems easier to fix than a poor setup. Mark Morton books were the best to get yourself familiarized with fingerings and the simandl was great once you understood the foundations.
I learned many of his pieces and played them for recitals, competitions, and other events.
Jason Heath’s Double Bass Blog
There was an error submitting your subscription. This was great for keeping me involved and interested, but at times i feel like I had to take many steps backward to fix problems that most likely would have been solved at I begun bass with these methods. His scale work in Book 2 is truly brilliant in getting a secure feel for whereever you are on the fingerboard in any key, although I thought he was mad when I first saw them!
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:. 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: I was really bored to tears, but it really really helped the left hand alot.
This is Rabbath, the rest is: Retrieved from ” https: That I definitely have to agree. Thanks for the great thoughts on the various bass methods. 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. Subscribe to get our weekly newsletter covering the double bass world.
With the imminent publication of the fourth volume of his method I think some of this will be cleared up. Those sikandl, 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 smiandl those accidentals across the strings is an absolutely essential skill for bass players in an ensemble. Especially about the movement of the pivot.
Franz Simandl – Wikipedia
Then on to the tune where elements of these technical exercises can be re doublf to solve a particular technical issue within a given solo. 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.
Suzuki -hmm, problems there. This is the problem, not Rabbath. Thanks for the post. 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. All and all, I think people should explore the different types of instructional books out there.
The instrument was wonderfully resonant.
Rabbath versus Simandl – a comparative study for double bass – Jason Heath’s Double Bass Blog
There are two predominant double bass pedagogical methods in the United States today. Early introduction of these positions makes the thumb positions no scarier than any of the other positions.
One of the difficulties with our instrument is how non-standardized it is in so many ways.
Nor me or somebody else in the world would be inspired by Simandl in that way. Long discussions of technical issues are to be avoided at all costs. His blog and podcast are highly regarded in the music world and have been featured as top offerings in the world of arts and culture for the past decade. Bsas it really is hard to accept this.
I welcome any comments or suggestions on other double bass methods or pedagogical sequences that other double bass teachers have found effective. Mark Morton bass book series.