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Rabbath and Streicher

Discussion in 'Jazz Technique [DB]' started by precision61, May 11, 2002.

  1. Hi

    I am just a new for DB.
    But, I just read someone mentioned Rabbath and Streicher method

    Dose anyone compare between Rabbath and Streicger method?
    What is difference?

    Thank you in advance for any helps.
  2. Alex Scott

    Alex Scott

    May 8, 2002
    Austin, TX
    I don't know too much about Streicher, But have used the Rabbath Method for 10+ years

    It is more relaxed, actually usually standing,

    Rabbath divides the fingerboard into six positions, based on the harmonic nodes of the string, and uses his thumb as a pivot point to move within those positions (as well as the more advanced crab techniques in which one finger serves as the pivot, and the hand moves to the next note.

    Rabbath does more movement across the strings than most methods, and for this the strings are set lower, and more consideration is put into how you use the bow,

    He considers three main elements of bow stroke- speed, weight and position, each balancing each other in order to make a better sound

    As you go higher on your fingerboard (towards bridge) you also move your bow towards the bridge, to maintain an even sound. Also by using these ways to regulate his sonority, he is able to play within a wide range of timbres, you might wawnt to listen to some of his cd's , i think there are sound clips on liben music's web site.

    Also, for more info, you might check the preface to his book three, it outlines a sort of "manifesto" in which he outlines a lot of his techniques, but he is also constantly evolving, and I don't think he is upset by other methods, but encourages you to explore more fingerings and bowings in order to find more solutions.

    I think his c major scale fingerings total about 130 different ways to play a c major scale, and by doing that, you can clearly see you have infinite possibilities,

    hope this helps, ask questions and I will do my best to answer them
  3. Thank you very much for your help.
    That is very helpful for my decision.

    Personally, I beleive in Rabbath method as well.
    And, I did order his books and CD-ROM from Lemur.
    The package arrived yesterday.

    Mostly, I play jazz . My former teacher (or most of bass teacher in my country, Thailand) just put me in Simandl method. But, I felt that Simandl method have had some limitations for my solo (improvisation).

    Could you provide me some more help?
    What would be the appropiate string hight for Rabbath method?
    Currently, I set 5 mm for G and 9 mm for E.
    Thank you

    Bangkok, Thailand
  4. Alex Scott

    Alex Scott

    May 8, 2002
    Austin, TX
    Interesting Jim, but 130 is really not too many fingerings,
    He probably has less than 20 different fingerings of the lower octave, and then 12 or so of the upper octave, and basically starts with a simandl-type fingering, going up the g string, and ends with going up the e string a ways, before playing across the strings in a higher register.

    There seem to be a lot of misconceptions about his technique from people who are not very familiar with it, also from those who only know enough to exagerate.

    Basically, he simplifies things, helping build muscle memory by simplifying the template of the fingerboard.

    I think a lot of bass players play out of tune on their one scale because they lack good practice habits, don't think it's important, or have some kind of mental paralysis, or just hunt and peck like a two fingered typist. I think more attention should be placed on muscle memory.

    Once you hear it's out of tune, it already is, there can only be a correction.

    Rabbath advocates long hours and intense work be done on the bass, so your body learns the movements neccessary to accomplish the tasks at hand.

    Hal Robinson and Paul Ellison, two of the best educators and players around period advocate doing the work needed to be able to play well. I think bass players who play out of tune don't do the work, or practice with bad habits, or just haven't practiced well enough.

    Don't knock it until you try it, and yes, you should probably study with someone who has a firm grasp on how the technique works, if you don't have a firm grasp yourself. I'd recommend a workshop with Rabbath, George Vance is hosting one in july 22-25, look at his slava publishing website for contact info.
  5. Alex Scott

    Alex Scott

    May 8, 2002
    Austin, TX
    The 5mm to 9mm is nice, that is what Rabbath suggests, as well as most jazz players I know who don't want there strings to be too high.

    The important thing, I feel to use all the strings, is to avoid having the d and a strings too high,
    so have them follow the curve of your fingerboard,
    5 mm on g, 6.5 d, 7.5 a, 9 e

    Also, if your climate changes a lot, I would get adjusters, that way if you loose to much tone, you can raise the strings a little, or maybe go lower if you need to, also it is very important to have the fingerboard very even, so the strings don't buzz.

    I've seen Rabbath's bass even lower, like 3 to 6 or something ungodly like that. He plays so that the string vibrates more in a side to side oval, pulling the string parrallel to the fingerboard, instead of pressing the strings down. I think this gives you a much fuller, easier tone as well,
    hope this helps, keep them coming
  6. Alex

    Thank you very much for your kindly help.
    In my opinion, this is the practical method to play DB.
    After reading the Book 3, I found out his philosophy is true (Space+Movement+time).
    Moreover, his CD-ROM is worth to me a lot.
    I am planning to buy the George Vance books to prepare Rabbath method.


    PS. If I were in US., I would be in his workshop.
  7. Alex Scott

    Alex Scott

    May 8, 2002
    Austin, TX
    Oh,. Another thing, Rabbath doesn't expect his materials to be used sequentially, and use them along with the Vance material, I do reccommend reading through the exercises without the bass before getting the bass involved, you can reason through trouble spots that way.

    Have Fun
  8. Alex

    Could you forgive me for my ignorance ?
    As you said "Oh,. Another thing, Rabbath doesn't expect his materials to be used sequentially".
    What is the reason?

  9. Alex Scott

    Alex Scott

    May 8, 2002
    Austin, TX
    Oh, He just knows different people are in different places, and no position on the bass in harder than any other, if your bass is set up well, it's just that you have more experience in one area than another, or the distance between your fingers will change, or you will need to put your bow in another place, plus, I don't think he thought of everything in order.

    I would just encourage you to look over the books, and find areas you think you should work on, some things will be harder than others, but not just because your hand is in a different place.

    Hope that helps, Alex

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