Can you give me a quick summary of what is meant by bassists when they talk about the 'Rabbath school' of bow technique? Is it focused largely on solo technique, or is it generally applicable to heavy orchestral work?

I have Rabbath's second and third books but they seem to mostly contain scales and exercises (which I love), and not much discussion of specific technique or modifications to standard bowing techniques.

Would I benefit from watching Rabbath's DVD, or should I rely on my teacher to help me correct my bow stroke?

Sorry if this is a big can of worms, but I didn't see this information collected into a single place when I searched through the forums. Thanks!

Can you give me a quick summary of what is meant by bassists when they talk about the 'Rabbath school' of bow technique? Is it focused largely on solo technique, or is it generally applicable to heavy orchestral work?

I have Rabbath's second and third books but they seem to mostly contain scales and exercises (which I love), and not much discussion of specific technique or modifications to standard bowing techniques.

Would I benefit from watching Rabbath's DVD, or should I rely on my teacher to help me correct my bow stroke?

Sorry if this is a big can of worms, but I didn't see this information collected into a single place when I searched through the forums. Thanks!

Yes, a can of worms, but thanks for asking! FR's approach IMHO is totally a "bow first" approach... with that said, only after having studied with him for about a decade, I realize the books are certainly not clear on this. They seem very left-hand oriented... and they are, but with the attitude that by knowing all these fingering choices, one can focus on the best liaison with the bow, for free-sounding and full ressonating phrases. Since he was an opera orchestra player, I hesitate to say that the "Rabbath Technique" is only for solo playing. "Heavy orchestral playing" (your quote) may require additional techniques, as would ANY music. One cannot limit oneself to only Rabbath or Simandl or ANY method, frankly. One should explore all ways and adapt these ways to what works for oneself. So, enjoy the scale studies, and the nice tuneful etudes. Apply what you learn from them in any genre, any venue. It is about playing the bass to your full capacity, NOT about what is right, wrong, good for only this or that. Rabbath simply has offered ONE way to help people acheive their musical and technical goals.
The DVD would be nice help, but your teacher is the best source of day-to-day help on all things, bowing included. Having many teachers is not a bad thing either. If your teacher has some issues with teaching some method he/she doesn't feel experienced in, find an additional.
You are right the FR method books do not address specific bowing techniques other than the "premiere sound" (basic stroke) of flat hair and even draw. After learning this and the flexibility of the wrist (on either bow) you can apply this to all works. Rabbath talks about seven families of bow strokes in private lessons, and briefly mentions this in the Methods, but specific exercises for each of these strokes don't exist in the books.. one is expected to study with him, I suppose, (as I did) to get the details of the seven families. Spiccato is addressed in many of his etudes, but not the specific mechanics of obtaining spiccato. There are numerous books out there that DO tho'.
So good luck. Learning only from books has never been the traditional way of learning music. One-to-one has been our best method of passing on music. So, have many one-to-one teachers and get what you need from each.
Best!
Patrick

Thanks for your response! As I think about what my teachers have worked on with me over the years, I think that a lot of it reflects Rabbath's influence - but it wasn't (until recently) attributed to Rabbath when it was described or shown to me.

Are there Rabbath teachers around, every teacher I talk to is Simandl only. In fact I haven't heard a name other than Simandl mentioned, but there are lots of different method books out there?

I'm surprised how hard it is to find DB teachers. Boatloads of violin and cello, but not many DB. I start with a old BG teacher I studied with before so I know he's a good teacher and he doubles a lot on cello and DB so see how that works out. My last DB teacher was one of those "don't worry its sounding better" types, little real instruction. I would go home and learn more from books than from him.

Are there Rabbath teachers around, every teacher I talk to is Simandl only. In fact I haven't heard a name other than Simandl mentioned, but there are lots of different method books out there?

I'm surprised how hard it is to find DB teachers. Boatloads of violin and cello, but not many DB. I start with a old BG teacher I studied with before so I know he's a good teacher and he doubles a lot on cello and DB so see how that works out. My last DB teacher was one of those "don't worry its sounding better" types, little real instruction. I would go home and learn more from books than from him.

Without knowing where you are located, I cannot recommend someone. Drop me a private email and we can discuss it. There are plenty of people in the U.S. that have experience with the Rabbath method, and with François Rabbath himself. If it something you are truly interested in, let's discover your needs. I can make some recommendations following that.
Look forward to hearing from you on private email.
Patrick

Without knowing where you are located, I cannot recommend someone. Drop me a private email and we can discuss it. There are plenty of people in the U.S. that have experience with the Rabbath method, and with François Rabbath himself. If it something you are truly interested in, let's discover your needs. I can make some recommendations following that.
Look forward to hearing from you on private email.
Patrick

Thank you PM sent.