DOUBLE BASS SIMANDL PDF

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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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The Simandl “family tree” of bass pedagogues extends for many generations. If you you want to kill the musical enthusiasm of a 3rd or 4th grader give them Simandl.

Franz Simandl – Wikipedia

Read the follow-up post to this article with special blog guest John Tuck. Harmonically simple tunes and basic movements helped with this. Years later, I found a Suzuki teacher who was willing to take me on, and I flourished. Many, too many bassists do their job because they learned by Simandl and their stupid teachers.

Coming from a bassist who had no private lessons for most of his bass playing years minus collegeI found that the Dr. This is my personal experience. Those books give you the same scale like 5 different aimandl and positions that way you can never be caught off-gaurd for fingerings.

I studied with George Vance when I started playing bass.

New Method for the Double Bass (Simandl, Franz)

The only materials available at the time were for the cello. Long discussions of technical issues are to be avoided at all costs.

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Then happily I discovered the Rabbath books and learned pivoting, poorly, until I discovered playing with a drone appropriate to the key.

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. Im working know for about a Year and my studies prooved to be a very good complement for my students. This page was last edited on 15 Augustat Dan Swaim did a wonderful job putting together the Suzuki bass books.

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. That I definitely have to agree.

Miss him and his patience! Here is what I like about this method:.

Probably we should study every system to enlarge our possibilities of fingerings. When a student starts in 3rd position they are able to play pentatonic tunes, which are much easier for simando young ear to process and hear 3rds, 4ths and 5ths are much easier to hear at first than half steps.

It really does teach you how to play in an orchestra.

Nor me or somebody else in the world would be inspired by Simandl in that way. From 4th position you can extend the fingers and use one per semitone which frees things up immensely and makes playing much easier. I had simansl acquired enough basic technique on my own over the years that I really just jumped into some rather serious literature. I bass player friend of mine came over and mentioned the Rabbath Method.

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But what I can say is that I wish I had had a more bass-specific technical background at a younger age. I bought his Nouville Technique volumes when I was in high school, and although I did not agree with many of the fundamental concepts I read, I knew there was a huge amount of value in these texts.

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

Even eouble bizarrely in Book 2 dealing with thumb position he expands the fingering onto the A string fully. It sounds like your students will be more than prepared for that, Jason.

I have started students both ways, and the Simandl students leave their first lesson with a grimace while the Vance students leave with a smile. I used to never let my students pivot, believing that it would cloud their intonation.

My teacher started me with Simandl too. One will help you more than the other and one may hinder you more than the other. I told him that I have the two Simadl books. These tunes pulled from the Suzuki method and the sequence baes 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.

Rabbath is a total revelation by comparison, and makes a very good contrast.