Double Bass Scale books vs Method books

[TomGale]

I got into an interesting internet discussion on this subject. Many players confuse the two and assume they are the same except one is all or almost all scales. I always assumed the method book includes all aspects of playing - of course, scales but also intervals, phrasing, bowing, rhythms, alternate techniques, some solo work, etc., etc. I picked up a copy of a highly touted book - over 200 pages of scales but nothing else. I was rather disappointed. How about some thoughts on what the difference should be as you see it....
Tom Gale
ASODB.com

 

[mheintz]

A couple thoughts: I think that a lot of the "method" books are really meant to be done with teachers. So, yes, the book itself might just have lots of scale variations, but if it also applies dynamics and articulations to those scale variations or etudes, it can be a great resource around which the teacher can explore the method in the music. I've found very few good books that discuss what articulations should sound like on the bass, but I suppose that makes sense given that the best way for most people to be taught articulations is to hear them. That being said, I really like the discussion of articulations in Portnoi's method book. He describes how each articulation would sound if spoken.

Other method books seem to be more of an arrangement of pieces with little explanation. Again, if the pieces are well organized, the student will gradually learn the techniques and methods in the music at the direction of the teacher.

 

[TroyK]

I've seen a few pure scale books that I suppose are usuful to someone of any instrument who doesn't know scales.

But, at the very least a DB method book, featuring scales should suggest fingerings, shifts, transition to thumb position, etc.

Should probably also comment on the right hand at a minimum.

Scales are just vocabulary. Almost like a parts catalogue

 

[EADG mx]

I think a scales anthology is fine if you know how to use it. For example, you could derive proper fingerings and shifts yourself, and find ways to use them musically yourself. Of course not everyone is able to do that. Having that extra information couldn't really hurt, it could only get in the way for some people.

Maybe use a collection with the additional information if you need it, use one without if you don't. If you're not sure, ask your teacher.

 

[damonsmith]

I think what people tend to miss about Simandl and Billie is that they really work over the scales as it relates to positions, the hand, and the tuning of the bass. Playing scales up and down is just not going to do the same for you as the the way Simandl and others try to get you playing every combination of the notes.

You can easily update the exercises by playing them in other positions and fingering systems.
I think it is something the more "musical" methods miss. The way I see it you are either inspired to learn the instrument or not, and learning it requires a lot of hard work.
Once that groundwork is laid there is a whole world of beautiful (or what ever adjective you are looking for) music you will have access to.

 

[jonster]

Get absorbed in everything and just do it! I was raised on Simandl, Koussevitsky, Jaco and Marcus Miller! Play scales. Then do them in thirds, fourths, etc. Start at the top and go down. Experiment with tempos and rhythm patterns. Learn to groove. Play classical stuff on your electric. Play electric stuff on your upright. Do you love the bass? Do anything and everything! Let me know if you want to talk more off-line. Send me an e-mail or go to my website. Thanks for the question!

Jon Liebman
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