The Simandl etude book introduces bowing exercises quite late: Pg. 68 has the first discussion about staccato, legato, and portamento/appagiato; Pg. 69 has the first discussion of various bowing activities. In addition, the following page is where the first collection of sixteenth notes are introduced (save one example I could find on Pg. 47). The preceding pages include a thorough regimen of fingering for the fingerboard covering up to a two octave A (major or minor) scale, but most of the exercises focus on quarter notes. I expect that the primary focus here is on intonation and learning different fingering options - the latter of which is something that can really only be worked out in an etude book. For those of you who have had (or are) teachers, how do you go about including bowing/rhythmic exercises earlier on in your studies? I am still scratching my head over why Simandl is laid out the way it is. What I would view as a more natural approach would be: i) introduce new position ii) including simple rhythms in the new position iii) include bowing exercises in the new position that include previous positions. Rinse and repeat. (This is the way the classical violin/viola books are laid out.) I can of course try to implement this myself by including the bowing exercises on any etude that's chalk full of quarter notes. I can also practice playing fast by upping the tempo but I wonder if that wouldn't defeat the purpose of working on intonation. Another option I have is to supplement (or replace) Simandl with a different etude book. For example, I had started working on Edouard Nanny's book with my last bass teacher, but I think I might have difficulty pacing the two side by side. Any thoughts or comments would be appreciated. I know the canned response here is "get a bass teacher." I'm working on it so no need to humor me with that one.