It is like everything in life, you need to ho through the boring part in order to have fun later...in my personal experience I have been playing double bass for more than 20 years and going back to this book really focusing on sound is really positive. I have a lot of respect for Simandl and also keep my head open for all the other ways that bass can be approached like Rabbath, Bradetich etc. If you want to be in the orchestra or be Jazz player with solid left hand technique Simandl is the way.
Jason: at 17.30 the etude you play is rhythmically different to what you played. Hold the quarter note twice as long. I actually like the Simandl method, especially for people who have already played another instrument. Thanks for your videos.
A couple of pieces of gold are the major arpeggio exercise that goes through all the keys, the A Major "Perseverance in Playing exercise" and the string crossing exercises.
Thanks for the video! I just discovered your channel. I am a double bass teacher myself. I would love to watch a video about your thoughts on the Double Bass Solo from Keith Hartley. That´s the one I like to use with students that can already play a little bit.
As a adult leaner I use them both; The Simandl has a lot of fundamental stuff that I need reinforced. The Vance gets me reading, makes me less afraid of the lower end of the fingerboard.
I totally agree! My teachers used Simandl as one element, not as a single source method. Add in the fun melodic stuff, and an associated orchestral excerpt. It has lasted this long for a reason, and I think it is good to have the reading and ear training start right away. Also the broader psychological lesson that not everything is going to be fun and melodic, a lot of it will be tedious and difficult. I was curious to see what you'd say about book 2, but not at all shocked by your opinion on it! And no mention at all of the Gradus ad Parnassum or other book of 30 etudes?
Yeah, that’s a good approach! I need to break this out again with my students. I think sometimes I forget how useful all of this Simandl material can be.
I used it when I began but I was already an adult and understood something about how to practice. It is wonderful if supplemented. NOT to be used alone and not for raw beginners. I enjoyed your review. Thanks.
I go back to Simandl when I have been away from legit playing for awhile. It helps me work the bow basics to re-build chops. And my life is pretty boring anyway, so I don't notice that Simandl is any different.
I've never thought of these going up to 11th position! I use the half method, so ½, 1st, 1½, 2, etc. And then thumb position is where I switch to the Vance/Rabbath conception of positions.
There is no perfect method book. I combine the Vance Method with the Bille method, because the Vance doesn't teach the student solid hand position technique like the Bille and Simandl. The pivot method promoted by the Vance can be problematic without having developed good finger placement in a single position. I have to say that the Simandl method definitely taught me solid left hand technique, as boring as it was!
Thank you for the feeling of depression and emptyness I recalled when I saw those notes... but I guess it was good for me, considering my current skill level.
Good video. I think the main purpose of Simandl when it was written was to switch piano or cello players to fill out a bass section in the conservatory orchestra with minimal instruction. I didn't learn position names until I did my student teaching, even then only up to fourth.
Great review. A great method to give to advanced students. It leaves no holes in technique. I always teach positions to students because then they can read the fingerings in standard parts(tuning in fourths) Do you have a video in D vs.Eb neck?
Hi jason, the Simandl don't prepare you to play jazz, there are Ray Brown and Rufus Reid do it better, But will be the case to speak about how many exercises are common for Jazz and classical double bass books, for example i see around 22 years ago, a bassist show me the Simandl vol 1 book IMC edition, that have same intevals studies of Ray Brown and Rufus Reid, i find these studies also on Bob Haggart for jazz, and into 1898 Mollenhaumer Imperial Method For Double Bass, but in these two last book limited to the fifths !
@@doublebasshq hi jason, i confess that: i bought Simandl method, the day i leave my comment on these books, because, as a jazzman i like to play the bow, i had learn bouncing technique (by myself!) and i like to learn others ! good luck Matteo from Milan
FYI, I seem to recall in possibly the Lucas Drew edition forward, an acknowledgment that it is sometimes common practice to start a younger student in a higher position, so they can develop the hand strength to make the big 1/2 position spread… great, insightful review of a standard book. Can’t wait for the one on Joel Quarrington’s.
Simandl does look like the (orch) gig as you said several times. I've been checking out Cole Davis' re-fingering in his New Simandl. Interestingly in the pizz context the Davis way allows total freedom all over the bass.
Kid repellant. Almost spit out my coffee…..lolol so true. I still love this book, but I may check out the Vance method just for my own sake. Other players have mentioned it as well
I think Sankey made a mess of Simandl's book, which resists all and any simplification. The positions (as given by Simandl) are unmemorable, but they have an underlying logic which I suspect is subconsciously absorbed by the player who practises them thoroughly. That said, surely no experienced player thinks primarily - if at all - in terms of positions when actually playing; the positions are just training wheels to constrain and order the practice of the learner.
… You are complaining all the time about not having anything to hum back home and here I am following the video waiting for You to play the etude (almost sonata) in ninth position… and You skipped it… You B… ! I enjoyed the apex of my bass learning playing that tune ! ... I still hum it today : D
