Double Bass Just one question

[Basstuba12]

I have one question. First i know everyone has an opinion on the Simandl Method. I have many other pedagogy books in my arsenal. I primarly play folk, bluegrass, blues and country music professionally. But my training is in classical bass when I picked up as my second bass instrument in college working on my degree in music. Since college i have been working.on expanding my playing into jazz which as been a process unto itself.

But here is the question i have: i am finding i need to strengthen my technique so i decided to just focus on simandle book 1 and the 30 studies to improve my overall technique on the upright bass that i realize i have not been paying enough attention to it. So i want to improve myself. As anyone else went back to square one to stengthen their foundations also.

Kirk

 

[LouisF]

I go back and play through Simandle 1, the 30 etudes and Nanny once a year

 

[Wasnex]

Anyone else went back to square one to stengthen their foundations also.

Yes, I reviewed Simandl many times over the duration of my career.

I used to switch between bass guitar, electric upright, and double bass. All three instruments were sent through an amp.

When playing in big band I turned up loud enough that I could hear and correct intonation problems on the fly. So I had no problem switching between all three instruments.

In concert band, I often played double bass in a classical style at a suitable (lower) volume to blend with the low brass.. In this setting I could not hear the double bass well enough to correct intonation errors on the fly. I could switch between bass guitar and double bass without problems, but throwing the electric upright into the mix drastically compromised my intonation on double bass.

My solution: About a week before music was passed out for concert band tours, I put the electric upright in its case and pulled out Simandl to calibrate my hand on the double bass. I usually started with simpler etudes and worked forward. I found it was very helpful.

 

[jj.833]

I played bass guitar, then I started double bass, plucking and learning till I got a gig in a big band. Not knowing how to move further effectively, I started to play with bow. This proved very effective in many aspects, good intonation being just one of the important ones. All the classical methods I know of tend to evolve upwards on the fingerboard quite soon. Revisiting Simand 1 and Sevcik/Gajdos bowing variations, especially the 'basic' ones, seems to me the fastest way to clean up the technique in low register, which I find very helpful from time to time.

 

[Steve Freides]

As anyone else went back to square one to stengthen their foundations also.

Square one - an attitude, not a particular piece of music or book, IMO.

Me, I play scales. Going up different strings, using different bowings, at different tempi. Works for me. I happen to be a good music reader so that part of it isn't something I need to work on, and playing scales lets me focus on my playing since I know all the notes already.

-S-

 

[bherman]

Square one - an attitude, not a particular piece of music or book, IMO.

Me, I play scales. Going up different strings, using different bowings, at different tempi. Works for me. I happen to be a good music reader so that part of it isn't something I need to work on, and playing scales lets me focus on my playing since I know all the notes already.

-S-

I do something similar with the bow. Duple exercises (2-octave scales major/minor), also 2-ocatve modes (scales and arpeggios), one key signature at a time. Helps me calibrate intonation; 99% of what I play with a band is pizzicato, but the bowing helps keep me honest (and in tune)

 

[Brilee]

I do portions of scales. Those can show challenges that straight line 2 and 3 octave scales can skip over. So I stay in a key and do five, eight, or nine note scalar patterns on every step of the scale. Lots of benefits for me. Makes me work out certain sequences that are harder than others within a particular long scale. Makes me listen better. And gives me a reminder about the sounds and feels of the modes (esp. 8 note patterns). Being able to start on any note on any finger in a particular key is different from always going to tonic to tonic on a long scale.

 

[Tom Lane]

I review Simandyl every couple/few years. Mostly just book 1. I find it doesn't take too long and helps correct some new bad habits I hadn't noticed. I also play a blues every day: melody, walk in 2, walk in 4, solo. Keep it basic but good time, good tone, clear harmony. Got the blues exercise from Rufus Reid.

 

[the_Ryan]

I play a lot out of Rabbath book 1.

I haven’t really gone back and worked on my left-hand technique from the beginning of a method book in a long time (I’ll play through Rabbath book 1 and Simandl book 1, but never front-to-back), but when I switched to playing German bow full-time I spent a lot of hours with Hal Robinson’s Strokin’ in conjunction with the Rabbath book 3 fingerings and taking the time to really get the sound and feeling I wanted.

For left hand stuff, I try to build habits through scales, arpeggios, and a bunch of technical exercises I’ve picked up over the years and then working to deploy those things when I’m in “practice” mode (as opposed to performing or practicing performing). For things like hand shape, weight transfer, and movement in the hand and arm I find those things are best developed for me when I practice them in isolation and then make a conscious choice to focus on that aspect when I’m practicing. I tend to not find playing through a method book and hoping to absorb those things into my playing to be super helpful because in order to build habits I feel like I need to make a conscious effort to focus on those things “in action”. I’m not spending my whole practice session focusing on my left hand shape (for example), but I’ll repeat passages and focus on one aspect of technique over and over again.

 

[Bruce Calin]

It seems that most of the beginning students I get have an almost immediate ensemble commitment of some sort and I have come to the conclusion that Simandl, for all it's supposed shortcomings, really does cover the required info in the most efficient way. It also gives me a refresher of my own going over the material with the students.

 

[BobDeRosa]

Nothing to be ashamed of. Simandl was right on the money.

 

[damonsmith]

I have one question. First i know everyone has an opinion on the Simandl Method. I have many other pedagogy books in my arsenal. I primarly play folk, bluegrass, blues and country music professionally. But my training is in classical bass when I picked up as my second bass instrument in college working on my degree in music. Since college i have been working.on expanding my playing into jazz which as been a process unto itself.

But here is the question i have: i am finding i need to strengthen my technique so i decided to just focus on simandle book 1 and the 30 studies to improve my overall technique on the upright bass that i realize i have not been paying enough attention to it. So i want to improve myself. As anyone else went back to square one to stengthen their foundations also.

Kirk

Everyday! If someone says Simandl is boring it means their low F is boring! Simandl is by no means the only way but it remains the most potent and proven way to solidify the basics of this instrument.

 

[Reiska]

I should be doing this, book one. Meanwhile, I play scales, slowly, long tones, mostly with my wife on violin. Another one of us is playing a drone and another one plays the " melody ". Allways with a metronome and sometimes with a drone. We`ve been working a lot on both maj and min pentatonic scales lately, which are great because there`s min third shifts involved. I try to play in all registers every time, vary the fingerings, and sometimes we go from top to bottom. Sometimes we play the " green tree " together. When I have the option of practising by myself, I play all modes of a maj scale, all around the fingerboard, without a drone to really hear symphatetic resonances when I play. Helps keeping somewhat of intonation together.

 

[SVT4001]

This is a great thread, thanks OP! I think the idea that our foundation can drift and may require occasional "re-alignment" is very important. Another set of eyes can be really helpful too. I remember being called out by my teacher once in my formative years. I had taken more than a year off from regular lessons and my foundational technique went out the window. I was playing and practicing regularly, but not paying close enough attention to detail. It got pretty bad! When my teacher pointed it out, I was embarrassed by how much my once solid technique had fallen into slop!
So, in addition to going back to the basics, I recommend getting a second opinion on your playing from time to time! =)

 

[Basstuba12]

Try playing in front of a mirror once in a while it helps see some of the bad habit one develops

Yes, I reviewed Simandl many times over the duration of my career.

I used to switch between bass guitar, electric upright, and double bass. All three instruments were sent through an amp.

When playing in big band I turned up loud enough that I could hear and correct intonation problems on the fly. So I had no problem switching between all three instruments.

In concert band, I often played double bass in a classical style at a suitable (lower) volume to blend with the low brass.. In this setting I could not hear the double bass well enough to correct intonation errors on the fly. I could switch between bass guitar and double bass without problems, but throwing the electric upright into the mix drastically compromised my intonation on double bass.

My solution: About a week before music was passed out for concert band tours, I put the electric upright in its case and pulled out Simandl to calibrate my hand on the double bass. I usually started with simpler etudes and worked forward. I found it was very helpful.

 

[Paps]

Yes, I am back to basics at the moment to iron out bad habits.
Simandl is perfect, but get a teacher and use a mirror.

Technique is not about where you put your fingers, it's about your posture, position relative to bass and being able to do the basics in an effective, relaxed and efficient way. Teacher all the way.
Even a few lessons could make a big difference.

 

[Basstuba12]

Improving your upright bass technique without a teacher can be challenging but certainly possible with dedication and self-guided practice. Here are some tips, including using a mirror:

Online Resources: Utilize online tutorials and instructional videos. Websites like YouTube have numerous bass tutorials covering various techniques and styles. Look for reputable bass instructors and follow their lessons.

Structured Learning: Consider enrolling in an online bass course or purchasing instructional DVDs. Many professional bassists offer comprehensive courses that can guide you through various aspects of technique.

Metronome Practice: Develop your sense of timing and rhythm with a metronome. This will help you with your bowing and finger placement. Start slow and gradually increase the tempo.

Scales and Arpeggios: Practice scales and arpeggios to improve finger dexterity and intonation. Make sure you're using proper fingering techniques.

Repertoire: Learn and play a variety of songs and pieces. This will help you apply your technique to actual music and keep you motivated.

Recording Yourself: Record your playing regularly. Listen critically to identify areas that need improvement. The mirror can be helpful for checking your posture and bowing technique.

Slow Practice: When tackling difficult passages, practice them slowly and gradually increase the tempo as you become more comfortable. This helps build muscle memory.

Use a Mirror: As you mentioned, a mirror is useful for self-assessment. It can help you check your bowing angle, hand position, and posture. Make sure you're maintaining a relaxed and ergonomic playing posture.

Play Along with Backing Tracks: Play along with backing tracks or a metronome to work on your timing and groove. This is especially important for upright bass in ensemble settings.

Seek Feedback: If possible, connect with other bassists or musicians, either in person or online, for feedback and advice. They can offer insights and suggestions for improvement.

Set Goals: Establish specific goals for your practice sessions. Whether it's mastering a particular technique or learning a new piece, having clear objectives can help you stay focused and motivated.

Patience and Persistence: Remember that progress may be slower without a teacher, so be patient and persistent in your practice. Consistency is key.

While self-teaching can be effective, having occasional lessons with a qualified teacher, even if they are infrequent, can provide valuable feedback and guidance to ensure you're on the right track and not developing bad habits.

 

[Mark_T]

I play a lot out of Rabbath book 1.

I haven’t really gone back and worked on my left-hand technique from the beginning of a method book in a long time (I’ll play through Rabbath book 1 and Simandl book 1, but never front-to-back), but when I switched to playing German bow full-time I spent a lot of hours with Hal Robinson’s Strokin’ in conjunction with the Rabbath book 3 fingerings and taking the time to really get the sound and feeling I wanted.

I spent the first part of this summer playing basically all of Rabbath book 1. I touched every etude for a portion of a practice session, usually about 2-3 days in a row, or until I felt I was playing it reasonably well. The thing about Rabbath's books is that even the beginning exercises are challenging on many levels. I think they're really way beyond a true beginner, but have absolutely tons to offer an advancing player.

As I recall, sometimes the only challenge was reading his fingerings at speed (ie, if I just followed my instincts for fingerings, I could have sight-read many of them). But of course, his choices are meaningful and deliberate, so I tried to take the time to play them exactly as he'd written them out. In other cases, there were real challenges (musicality, rhythm, etc) and I was glad for it.

I'm tentatively planing to dig into book 2 next summer, but I might need to get an early start because I expect playing the exercises up to the same standard as book 1 will take much more time.

For working on lower position stuff, I don't go back to Simandl that often anymore, although I do a lot scales with a full-spectrum drone, plus exercises like 3- and 4-note progressive scales, and the tetrachord warmups (see Dennis Whittaker's book for all of these).

In the upper positions, I'm working loads out of some of the technical exercises in Rabbath 2 (not so much the "musical" etudes I was talking about above) to build structure to my left hand. I pair that occasionally with Petracchi and Fractal Fingering. FF is amazing but I find that I'm not ready to do so much of the flexible expansion exercises DAM writes - I'm unfortunately an old Petracchi guy so I try to stick to cr, s. sc, and diatonic when I can in real life. However, I'm trying to push my boundaries. If I do this for a few weeks and then play some Bach, it's really revealing how much it helps.