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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New Method for the Double Bass (Simandl, Franz)
I somandl a conductor, composer and double bassist with an active performing and teaching career. Rabbath is liberation of old minded teachers and players.
Long discussions of technical issues are to be avoided at all costs. This is my personal experience. If you you want to kill the ximandl enthusiasm of a 3rd or 4th grader give them Simandl. The Simandl New Method teaches a bass player all of the oduble skills to play orchestral music. To really appreciate siamndl simandl and get the maximum result out of it, I feel one really needs to already have a basic knowledge of the bass. Im working know for about a Year and my studies prooved to be a very good complement for my duble.
Especially about the movement of the pivot. There are two predominant double bass pedagogical methods in the United States today. The application of contemporary bass pedagogy concepts to beginning string class instruction, in American String Teacher Magazine Simandl is useless in simnadl things, apart from the surreally badly translated instructions in how to stand, hold the bow and finger positions. Sure wish it would be reprinted!! To be fair, I have always loved watching Rabbath himself play and have enjoyed listening to his recordings.
Coming from a bassist who had no private lessons for most of his bass playing years minus collegeI found that the Dr. But what I can say is that I wish I had had a more bass-specific technical background at a younger age.
Simandl has the simanxl grinding away at half steps in non-melodic patterns the first time they put down their fingers. If poor techniques are ingrained at an early age they are almost impossible to fix. Early introduction of these positions makes the thumb positions no scarier than any of the other positions. Years later, I found a Suzuki teacher who was willing to take me on, and I flourished. Thanks for a really great article.
This page was last edited on 15 Augustat Honestly, I love the Simandl Method for what it is. I told him that I have the two Simadl books. The second volume also delves extensively into the playing of harmonics.
Jason being my instructor for the mojority of highschool was probably experimenting with me and beginning to develop his current viewpoint on the subject. Hi Jason, I find your article very interesting you posted some of my videos long time basz.
Thanks for sharing, John!
Franz Simandl – Wikipedia
Those books give you the same scale like 5 different ways and positions that way you can never be caught off-gaurd for fingerings. Michael Schneider from Heidelberg, Germany.
So they work with the formal method with all the boring but necesary studies, but they have a complementary etude each month that its on their level but its really fun and serves as a solo piece to peform on a recital. Read the follow-up post to this article with special blog guest John Tuck. He was Professor of double-bass at the Vienna Conservatory from to His approach uses the first, second, and fourth fingers of the left hand the third and fourth operating together as one digit for stopping the strings in the lower register of the instrument and divides the fingerboard into various positions.
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.
Ill definitely check out the Vance. I have never tried Vance Progressive Repertoire books. I have had many university students who are completely comfortable in the neck positions and a total mess in the thumb positions. Mind you, Simandl has some very wierd ideas on the upper positions where he dispense with fingering the E string, and restricts fingering on the A to 1 and 2.
That I definitely have to agree.
And it really is hard to accept this. 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 was surprised at the way the double bass positions were introduced and explained but was immediately interested.